Feb 221967
 
two reels

Robin (Barrie Ingham)—this time a Norman and named “de Courtenay” instead of “Loxley”—is framed for the murder of his cousin by his other cousin (Peter Plythe). He escapes to the woods with Friar Tuck (James Hayter) to join outcasts currently lead by a grumpy Alan-a-Dale (Eric Flynn). Even though they all hate Normans, they immediately make Robin their leader and he turns them into bandits so they can buy green fabric for new outfits (that is the reason, honest). Things go as they always do in Robin Hood movies, including the hero falling for Maid Marian (Gay Hamilton), who seems a bit sleepy and has around five lines.

Challenge? The title suggests Robin Hood has some chores to do around the house before his parents get home. That might have made for a better film.

The 1960s were not a great time for swashbucklers. Swashbucklers are about movement and speed. The Challenge of Robin Hood is a film of stillness. People stand. They sit. And they speak slowly and very theatrically (someone should have pointed out that this was a movie, not a stage production). Warriors step leisurely forward only to fall dead from an unseen arrow. A good swashbuckler requires money, skilled choreography, and lithe direction. This one had none of those. C.M. Pennington-Richards made a few nice small comedies (I’ve always loved Ladies Who Do), but action requires a different kind of talent.

In 1967 I doubt there was a child alive who did not know Robin Hood’s origin story, so a retelling was old hat. Almost any other tale of Robin would have been a better choice. But any swashbuckling story would have required action beyond the capabilities of Hammer, a studio known almost exclusively now for their horror productions. This was their second crack at Robin Hood, and while it is an improvement over Sword of Sherwood Forest , it is isn’t enough of an improvement to be worth the price of a ticket.

While far from a great swashbuckler, it is also avoids the lower echelon. Within its humble scope, The Challenge of Robin Hood is watchable children’s fare. It doesn’t take itself too seriously. A few lines are witty and it has a pie fight—yes, a pie fight. While Robin is uncharismatic, John Arnatt’s Sheriff is amusingly dry. I see the origin of Alan Rickman’s Sheriff in Robin Hood: Prince of Thieves. The sets are claustrophobic, but look reasonable and would be spectacular in a Frankenstein film. Add in a monster or two and they might have had something.

Other Robin Hood Swashbucklers I’ve reviewed: The Adventures of Robin Hood (1938), The Bandit of Sherwood Forest (1946), Rogues of Sherwood Forest (1950), Sword of Sherwood Forest (1960), Robin and Marian (1976), Robin Hood (1991), and Robin Hood: Prince of Thieves (1991).

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