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As a scholar of the Middle Ages I can say you're not likely to see a better re-creation of the era of King John than any random frame you might pick from Ridley Scott's Robin Hood. From Celtic monuments to Roman ruins, to Loxley hall abundant with 12th century furnishings this film is breathtaking and superbly researched. Except perhaps for the huts clustered around London Tower-- the castle was in the midst of a city long before AD 1199. But real huts may be preferable to digital animation.
The authors know English history and the Robin Hood material and play fast and loose with both -- which is being true to the tradition of Mallory,Shakespeare, and the Victorian versions of the tale that nowadays seem to be taken for Robin Hood gospel.In a merry spirit of throwing a bit of everything into this script, we are being treated to glimpses of the masked Dying God in the forest (see archeologist Margaret Murray's The God of the Witches for what that's all about.) The Magna Carta -- complete with authentic signatures of the 1215 version and Matthew Paris's illustrations of shields from forty years later -- makes a premature appearance twice. And the royal favorite turns out to be an agent working for the unpopularity of the king to make way for an invasion from France -- a plot twist borrowed from the time of Richard III (don't trust Shakespeare for this, see Paul Murray Kendall's definitive Richard III.) But, hey, Walter Scott combines three centuries in the opening paragraphs of Ivanhoe, why can't Ridley Scott? I give this film five stars, it is stunningly produced, persuasively acted, and keeps up the long tradition of anchronism in Robin Hood plots.
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