ROBIN HOOD: Blu-ray (Walt Disney 1973) Disney Home Video
In 1973, Disney animators were to sidestep the
studio’s tradition of looking toward the future for inspiration, and, instead,
resurrect an idea that had been kicking around the back lot for quite some
time, tackling an unusual ‘remake’ of Robin Hood. Aside from the
memorable Errol Flynn Technicolor epic produced at Warner Bros. in 1938, and,
countless less-than-ambitious re-interpretations put forth on celluloid and
television (Walt had even made his own live-action version in 1952: The
Story of Robin Hood and His Merry Men), the idea to take this beloved
rogue of Sherwood Forest and transform him into a cartoon had yet to pass. Produced
and directed by long-time Disney alumni, Wolfgang Reitherman, Robin Hood
would become the studio’s 21st animated feature, very loosely to
follow the already ensconced cinematic legacy of its predecessors. Robin Hood,
Little John, and the inhabitants of Nottingham struggle to maintain body and
soul against the oppressive taxation of Prince John. Along the way, Robin wins
the hand of Lady Marian. So much for plot. What made this version different is
that virtually all of the players would be represented by counterparts from the
animal kingdom. As such, Robin and Marian became foxes (respectively voiced by
Brian Bedford and Monica Evans), Prince John, a sniveling, thumb-sucking lion
with a mommy fixation (spectacularly realized by Peter Ustinov), with other parts
going to Phil Harris (again, a bear as Little John. Harris had previously voiced
Baloo, the bear in 1967’s The Jungle Book), Roger Miller as the
rooster/minstrel, Alan-a-Dale, Andy Devine – a badger, as Friar Tuck, Terry-Thomas
– the snake, Sir Hiss, Carole Shelley as Lady Kluck, a chicken, Pat Buttram as
the wolfish, Sheriff of Nottingham, George Lindsey and Ken Curtis as Trigger
and Nutsy, two vulture guardsmen, and John Fiedler and Barbara Luddy as the
Sexton and his wife, a pair of elderly church mice.
Although the project bore certain irrefutable
stylistic similarities to other movies made after Walt’s passing, the idea for Robin
Hood had actually been kicking around the studio since 1937 when Disney
entertained adapting the twelfth-century legend of Reynard the Fox. Possibly
because of its more adult themes, this project never went beyond his
contemplation. Walt did, however, cling to the possibilities of fitting in stories
of Reynard into his adaptation of Treasure Island (1950), and later,
possibly, to be represented as the villain in a musical that was to have been
called Chanticleer and Reynard (based on Edmond Rostand's Chanticleer).
But again, the project was scrapped, as the studio began to ramp up production
on The Sword in the Stone (1963). The animated features after Walt all
bear the brunt of executive management’s desire to streamline the animation
process, cutting corners to bring these movies to the market on a more
consistent timeline. While in production on The Aristocats (1970), Ken
Anderson began exploring ideas for the next Disney feature. As executives
favored a return to the ‘classic’ tales of yore, Anderson pitched Robin Hood,
suggesting the whole story might be transported to the Deep South as a sort of
homage to Walt’s Song of the South (1946). Alas, even then, the unwarranted
pall of racism hung over the memory of that beloved picture and Reitherman
backed down, reverting to the story’s traditional English setting to develop
the picture. Veteran writer, Larry Clemmons was hired to write the script,
thereafter to be reinterpreted by storyboard artists.
Anderson was unimpressed by the changes being made to
the production, and frequently fought with Reitherman to keep his original
vision intact. These creative differences during the development stage delayed
production considerably. So, in order to meet their deadlines, animators were
encouraged to recycle several dance sequences from Snow White and the Seven
Dwarfs (1937), The Jungle Book (1967), and The Aristocats
(1970). Engaging voice actors went smoothly with the exception of Tommy Steele
in the title role. Steele had been a beloved of Walt’s. Although The
Happiest Millionaire (1967) had told the story of Anthony J. Drexel-Biddle,
Walt’s primary reason for making the picture had been to exploit Steele’s
formidable talents as the household’s Irish butler, John Lawless. But Anderson was unimpressed by Steele’s vocals
on Robin Hood, which he felt were thin and not in keeping with the heroism
of the dashing figure of the fox. Instead, the studio auditioned Bernard Fox
and Brian Bedford – eventually going with the latter. Reportedly,
swinger/singer, Louis Prima became incensed at not being offered the role. Robin
Hood was released on November 8, 1973. While several critics pointed out
similarities between it and other Disney product, stopping just short of
suggesting whole portions of its animation had been pilfered from the studio’s
illustrious past, audiences were charmed by the quaintness of the tale and the
involving characters. In its prime,
Disney Inc. would never have courted the idea to ape its past. Now, it was
practically celebrating it.
Like The Jungle Book, Robin Hood is
driven by its vocal performances. But even more unusual, some of the voices
that had appeared in Jungle Book, were now reincarnated almost verbatim
for Robin Hood. Anyone who has seen both pictures can immediately spot
the copycats. Phil Harris’ Little John is Baloo, merely wearing a green
smock and cap to superficially conceal the obvious. Terry Thomas’ Sir Hiss (this
time, voiced by Terry-Thomas) is verbatim, Kaa – the python (then, voiced by Sterling
Holloway). The movie’s narrative is unevenly episodic, its vignettes strung
together with a narration from Roger Miller’s minstrel/rooster. We see Robin
and Little John – masquerading as female fortune tellers - tricking the naïve
and ineffectual Prince John out of his tax money. The focus then shifts to
Nottingham, where its manipulative Sheriff pinches the poor for their last
farthing. Robin, disguised as a blind peasant, brings much needed funds and
hope to the town’s bedraggled citizens, eventually meeting the Prince’s young
charge, Maid Marian and her Lady in waiting – Kluck.
Together with John, Robin enters an archer’s tournament
–easily winning first prize, but alas exposing his true identity to Prince
John’s henchmen. After a spirited battle, Robin and his band escapes into the
forest with Marian and Kluck in tow to celebrate their newfound freedom in
Sherwood Forest. For the briefest of moments, peace reigns in the land – that is,
until the Sheriff makes his Prince aware, he has since become a laughing stock throughout
the land. The ruthless, Prince John imposes stifling taxation on all the inhabitants.
Those unable to pay are immediately imprisoned. This includes Friar Tuck, who
resists the Sheriff’s attempts to arrest the infirm and elderly. Learning of
this latest assault on the people, Robin and Little John sneak into the palace.
After a harrowing battle with Prince John, in which Robin is momentarily
assumed to have been fatally struck down, the hero emerges relatively unscathed.
King Richard’s return puts a period to the Prince’s tyranny and peace, order
and good government are restored to a grateful England. Our story ends with
Robin’s marriage to Marian, the animation a direct rip off of the final moments
of Disney’s Cinderella (1950).
Robin Hood is delightfully spry in its execution and consummately splendid
in its efficiency, blending humanized animal characters with oft ingeniously achieved
slapstick and action sequences. If not exactly marking the pinnacle of
perfection seen during Walt’s reign, the picture nevertheless moves
effortlessly from one vignette to the next, paying little attention to
continuity while remaining relatively faithful to the fabled hero’s origins and,
in fact, highlighted plot points directly gleaned from the ’38 Errol Flynn/Warner
Bros. swashbuckler. Director, Wolfgang Reitherman and screenwriter, Ken
Anderson have conspired on a winning and witty combination of sight gags, dialogue
and several disposable songs, in keeping with Walt’s tradition of having musical
underscoring to contribute to the main character’s hopes, dreams and ambitions.
From a purist’s perspective, Robin Hood does tend to veer dangerously
close to self-parody. Nevertheless, the picture has remained one of the most
fondly recalled today, its whimsical intelligence appealing to both children
and adults. The cache of top-flight voice talents also elevates the picture’s
pedigree. And although not exactly a visual feast, the animation is certainly
solid, colorful and conceived with all the vigor imbued in the best of Disney’s
animated features of yore.
Robin Hood’s animation was always of the ‘rougher’ hewed quality
that began with the studio’s use of the Xerox system in One-Hundred-and-One
Dalmatians (1961) to directly copy original animator’s drawings to acetate cells,
thus eliminating a crucial intermediary step in the process – and also, a lot
of work in the studio’s Ink and Paint Department. The animation throughout Robin
Hood has a very sketch-book quality to it, perfectly preserved on Disney
Home Video’s newly minted Blu-ray, just in time for its 40th
Anniversary. The opening credits appear a bit softly focused. Not entirely
certain why this is, as opticals ought not to have been an issue here. But
there is some color grading issues here and a lot of fluctuation too. This should
have been corrected and cleaned up. Afterward, the body of the movie exhibits a
more homogenized quality. Colors settle down and the raw appeal of the
hand-drawn cells shines through as it should. Contrast is, of course,
excellent, and there is an absence of DNR and edge effects for an image that is
smooth and consistently rendered. The DTS 5.1 is tinny and hollow at best. Remember,
Disney Inc. does not consider this as one of their ‘Diamond’ classics So, I am
not entirely certain how much effort was spent to improve upon the old RCA stereophonic
recording. It sounds appropriately dated without any residual hiss or pop.
Extras are limited to a storyboard alternate ending, instant access to the
songs, a gallery featuring original concept art, and a sing-a-long option, plus
‘Ye Olden Days’ a vintage Mickey Mouse cartoon short. Bottom line:
Robin Hood is not top-tier Disney. But it remains well above the usual pay
grade and continues to exert its pleasures on every generation who experiences
it. The Blu-ray is competently rendered,
if not outstanding. Recommended!
FILM RATING (out of 5 - 5 being the best)
3
VIDEO/AUDIO
4.5
EXTRAS
4
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