Robin Hood: Prince Of Thieves

Before I begin, Allow me to say this has nothing to do with the accent, I know. Kevin Costner, an American, has been a joke for his mock British accent and one of the best quotes in Men in Tights (“Why should the people follow you?” “Because I have an English accent, unlike other Robin Hoods.”). However, Robin, in my opinion, taking into account his poor wit, speaking in a foreign tongue is not completely a no-no.

So medieval English speaking can’t be like today’s British speaking, say, is it true English in itself is a tad different though not really? There was this Man in The Iron Mask in 1998 which was released and was largely panned since why would 3 out of 4 musketeers not have accents or even French accents for that? What was a tad unreal was the idea of musketeers speaking English sans accents, silly. Alas, the Costner raspy accent or lack of was to reason when, and even at the same time people endlessly ignore Laurence Oliviers rational appreciation of Hamlet not being speeches with any sort of Danish accent.

No, It is not the accent that is the bugger in the movie it is, instead, the writing, directing, and, unsurprisingly, the acting.

For those who are not acquainted with the story, it begins with Robin of Locksley who is a little kid, a crusader who is imprisoned in Jerusalem. He, along with his friend Azeem who is a Moor, breaks out. Azeem promises to stand beside Robin until he repays his life (seems like honour can be paid back in service). Robin along with Azeem goes back to his home country only to find that his father has been killed in his absence and his home has been set ablaze. The number one anti-hero is the Sheriff of Nottingham.

He leads a group of devil worshipers who wish to take over England. Robin and Azeem, run into Marian, who is the younger sister of a companion who died in the Crusades, and they all escape to Sherwood Forest where they befriend an outlaw group. Robin teaches them how to fight, and they begin planning robberies and trying to express their resistance against the sheriff. As for the rest, the structure is customary, save the woman and put an end to the enemy, with the pornographic and devilish sheriff alongside his brutish cousin Guy of Gisborne, Celts, a scheming bishop, and a witch. Not to forget, there were loads of fire and gunpowder along with a soundtrack that mixed touchy-feely with extremely loud and brutish.

The script resembles a disconcertingly high volume of so-called “big” films, a Robin of Sherwood hodgepodge of major motion pictures. Appendages that were cobbled into place included the name (a 19th-century novel by Alexandre Dumas and a film made in 1949 with Robin Hood as its hero), some Pardonable liftings off Errol Flynn, several action videos’ use of gunpowder that was not meant for the period resulting in numerous explosions, portions of the inter-racial buddy relationship from Lethal Weapon (though, more on this later, it has sources that predate it) rogue s playing toss across from windows, dying and coming back to life twice. Among them is the die-hard actor whose father was a humanitarian worker followed by a sullen yet strong-willed hero whose parents were killed followed by a manic villain who destroyed everyone around him in Batman and the Star and a few scenes from “Dances with Wolves”. The 1980s Britain television series Robin of Sherwood stands out as one of the true masterpieces alongside the Captain America and Black Mask films. Stealing concepts range from devil-worshiping cults to a furious Will Scarlet with members of the Merry Men who were of Islamic faith. No one below a certain age felt the urge to install this new film with the spirit and passion of Robin of Sherwood.

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