Douglas Fairbanks's Robin Hood starts with more than an hour of backstory, ponderously paced with heroes and villains alike hulking around in chain mail declaiming in mime that is way over the top. Sets and costumes are ludicrous (people would freeze to death in the main castle's great hall, which looks like it takes up a couple of sound stages and is virtually empty). Lady Marian trails looooong veils and trains, which it's a wonder she doesn't trip over. Wallace Beery is horribly miscast as King Richard; the actor playing Prince John, Sam de Grasse, is actually pretty good, though he too indulges in occasional broad mime. Douglas Fairbanks transforms from a galumphing knight who's afraid of women to a jumping bean when he removes the chain mail and becomes Robin Hood. The Robin Hood parts of the movie are few and far between; we get barely a nodding acquaintance with the usual cronies--Little John, Friar Tuck et al. Favorite absurdity: Robin Hood bouncing around, climbing down a castle wall holding a bag of gold between his teeth. Must be great teeth. There've been a lot of better Robin Hoods since this flatfooted film (Errol Flynn and Richard Greene to name my two reference points). Of minor historical interest only.

This early silent epic was actually the sixth version of the classic English fable to reach the screen, and it remains, even today, by far the biggest. Every shot is framed to highlight the extraordinary production design, which included a full-scale medieval castle built just off Santa Monica Blvd in Los Angeles, reportedly the largest set ever constructed for a motion picture. The film draws heavily on the romantic heritage of chivalry, and favors the origins of the character over his legendary exploits, following the Earl of Huntingdon (not Locksley, as in later films) into the Crusades, where he and King Richard are marked for death by the treacherous Sir Guy of Gisbourne. It isn't until the fourth (or fifth) reel that Douglas Fairbanks (in one of his definitive roles) finally exchanges his suit of armor for Robin's trademark feathered cap, and goes (literally) skipping through Sherwood Forest. Viewers more accustomed to the Errol Flynn archetype may find it an odd interpretation of the role, depicting Robin Hood as a girl-shy, over-age adolescent, liberated when he turns outlaw. And Fairbanks, always more acrobat than actor, all but dances through the part.

King Richard leaves for the Holy Land on Crusade, taking with him the flower of England's knighthood. Left behind, his wicked younger brother, Prince John, quickly turns despot & begins to oppress the people. Only the Lionheart's dearest friend, the Earl of Huntingdon, has wits quick enough to thwart John & protect the Kingdom until Richard's return. This he does in disguise as an outlaw, taking the name of ROBIN HOOD.This was Douglas Fairbanks' exciting homage to one of our greatest legends. The film is full of pomp & pageantry and if Fairbanks' style of acting seems to have dated, that does not in the least detract from the pure enjoyment of watching this silent epic. The archaic wording of many of the title cards can be a trifle annoying, but it's important to remember that Fairbanks was trying to impart an authentic medieval flavour to the film.Wallace Beery is a bluff & hearty Richard. Sam De Grasse makes a fine villain as John, while Enid Bennett is lovely as the Lady Marian. Alan Hale plays Little John, a role he would assume again 16 years later in the Errol Flynn version.Huntingdon does not become Robin Hood until more than half the film has passed. Then the action really livens up & Fairbanks is allowed to display some of his best athletic magic. One of the biggest & most impressive sets ever constructed for a silent film - Nottingham Castle - is featured here. Fairbanks does not allow it to dwarf him. He leaps & prances from battlement to balcony, climbing ivied walls & sliding down huge draperies, lithe & active & exuding charm. Just what we expect from Douglas Fairbanks.

What other actor could leap around Sherwood Forest like Doug does? It is almost skipping! Certainly Errol Flynn was too butch for such things - and Kevin Costner couldn't do a jig if his ass was on fire. But beautiful balletic Fairbanks proves here that he was the ultimate swashbuckling hero - skipping and all! Needless to say his stunts are superb, the sets amazing and the crowd scenes crowded (have there ever been that many merry men ever?).Allan Dwan was not the greatest silent director - his visual style is not as strong as say Fred Niblo or Rex Ingram - but there are some memorable visuals - and a particularly gorgeous final image.The film gets off to a rather slow start - I could have done with less of the build-up to the Sherwood scenes, which are certainly the highlight. But Wallace Beery, Enid Bennett and Alan Hale (he played Little John again in 1939) are all excellent. Special mention should go to Sam De Grasse as the villainous Prince John - he is terrific. The rest of the characters don't get much of a look in - it's Fairbanks all the way - and who can resist that?