The Death of Robin Hood Review: An Illustration of the Outlaw as a Blatant Falsehood

      How many times has the tale of Robin Hood been recounted? How many literary works have been created, and how many films produced about this outlaw? In The Death of Robin Hood, writer-director Michael Sarnoski returns to the origins of the story—or rather, the supposed origins. The earliest depictions of Robin Hood were ballads sung by the common folk throughout England. These narratives portray an outlaw who doesn’t donate stolen goods to the needy but instead relishes in slaying the wealthy. In the medieval ballad “Robin Hood and Guy of Gisborne,” Robin decapitates Gisborne and displays his head on a spike.

      This is the version of Robin Hood that Hugh Jackman portrays, and he is exceptional in the role. Set in 1247 A.D., the film presents the titular anti-hero as a bitter elderly man residing in the mountains, removed from civilization. His existence is a bleak and ruthless burden marked by an endless repetition of past transgressions. Little John (wonderfully played by Bill Skarsgård), Robin’s only friend, is eager to seek new adventures that will be recounted by many, transforming into something noble and heroic. This misguided aspiration leads to more violence and ultimately brings Robin Hood to a mysterious priory where he tends to his fresh wounds. Jodie Comer, who fits seamlessly into the medieval backdrop (as evidenced by her role in The Last Duel), plays the prioress. She forms a bond with Robin, who fabricates his identity. Before long, he is compelled to take on a paternal role when a young girl (Faith Delaney) arrives on the island injured and alone. Is there a chance for some form of redemption for someone so brutish?

      Sarnoski is focused on the art of storytelling and how narratives shift (or regress) through time. This is an apt theme for a legend like Robin Hood. The Death of Robin Hood is primarily adapted from the likely 17th-century ballad “Robin Hood’s Death.” There’s a similar narrative in the final stanzas of “A Gest of Robyn Hode,” one of the earliest and longest Robin Hood tales. While much is altered in this fresh take, the overall framework remains intact. Throughout the film, each character has their own story to share. Murray Bartlett delivers a memorable monologue midway through the film, portraying a leper who ferries people between the island of the priory and the mainland. It's incredibly satisfying to witness talented actors share remarkable stories with one another. Although this may seem like a simple observation, the impact of these moments cannot be underestimated.

      Not since Richard Lester’s underrated Robin and Marian has there been such a perceptive, metatextual exploration of the narratives that build the legend. Since the dawn of humanity, tales have needed telling. People are eager for stories, whether they are shared around a fire or consumed in 15-second snippets on their phones. Compelling narratives have motivated individuals to commit terrible acts. They have inspired others to strive for greatness. Once, a college professor shared during a lecture on Miguel de Cervantes’ Don Quixote that when the book was first released, it became so popular in Spain that some readers fell from their windows because they were too engrossed in reading, even as night fell. They extended their copies out the window to read one more page as the sun disappeared. It's an engaging story about a renowned book centered on storytelling. Is it true? Who knows? Does it even matter? The Death of Robin Hood grapples with this final question, and it’s fascinating to watch unfold.

      The Death of Robin Hood will hit theaters on Friday, June 19.