An Anti-Heroic Robin Hood Without a Trace of Swashbuckling

Early on in the new movie “The Death of Robin Hood,” we’re told how all the stories of courage, moral righteousness, and the honorable redistribution of wealth associated with the eponymous figure were lies. This is relayed by the “hero” himself, depicted in the film as a white-haired, wizardly-looking, gruff older man and portrayed by the great Hugh Jackman. As he tells a wanderer he meets, the tales of Robin Hood and his band of “merry men” were all embellishments; in reality, they robbed and killed for the joy of it, and even his romance with Maid Marion was a fiction. He contends that “no one protects the meek.”This opening sets the stage for what will be a bleak, iconoclastic and audacious reimagining of the legend of Robin Hood. Writer-director Michael Sarnoski loosely based his feature on the 17-century ballad “Robin Hood’s Death,” though the idea of the character as a senseless murderer came from the book “Scotichronicon,” a medieval account of early Scottish history. Focused as it is on his later life, the picture’s narrative is definitely not a joyous one, like 1938’s “The Adventures of Robin Hood” with Errol Flynn, nor particularly adventurous, like 1991’s “Robin Hood: Prince of Thieves” starring Kevin Costner. While it shares a touch of the melancholic, sunset years mood of 1976’s “Robin and Marian,” featuring Sean Connery and Audrey Hepburn, what the new movie most resembles is a stark Bergman film, with Mr. Sarnoski having cited the Swedish auteur’s “The Virgin Spring” as an influence.An example of counterprogramming, the picture is no rip-roaring summer blockbuster. Those looking for a thrilling version of the Robin Hood story may come away disappointed as only its first act delivers the gory goods. After living for several years in hiding in the hinterlands, Robin is brought back into the fray by a visit from Little John, who was leading a respectable life under a new identity. A few relatives of those they murdered have kidnapped John’s wife and daughter, and John convinces Robin to help him get them back. What transpires is one bloody confrontation and disturbing image after another, including the unforgettable scene of a young boy walking with an arrow lodged in his head. That arrow was shot by none other than Robin Hood himself, and it’s no wonder the character is haunted by his victims and longs for the grave. Yet his death wish doesn’t prevent him from fighting for his life when cornered, and this opening section ends with a savage, muddy fight in which he emerges victorious but severely injured. To help him heal, John leaves Robin at a priory located on a remote island and run by Sister Brigid, a kindhearted but no-nonsense nun (is there no other kind?). At that idyllic, restful place, he begins to truly grapple with his past, and the film becomes a contemplative tale of redemption, with the first act now seeming more like a prologue than an essential piece of the plot. There will be intimations of violence, moments of dramatic intensity, and even a little bloodletting, but the director tempers the tone, providing no gratification for those hoping for a return of action and brutal mayhem, or at least a satisfying comeuppance for the character. Instead, he tells a mournful, allegorical story of a wounded, guilt-ridden man, a modest woman, a leper, and a little girl.Mr. Sarnoski appropriately weaves faith and prayer into his medieval period tapestry, though the themes of storytelling, moderation, and forgiveness turn out to be more central to his exploration of a man facing his sins. During a lovely scene between Robin and Brigid about midway through the film, the latter speaks about balance, and in the tentative relationship that develops between them, the director achieves the perfect balance between adding an element of romance and sticking to his generally unromantic, harsh vision of thirteenth-century England. His sensitive, literate script also examines how Robin’s memory lapses and denials of stories about himself serve as a convenient coping mechanism, allowing the outlaw to sidestep responsibility and accountability.As Brigid, English actress Jodie Comer (“Killing Eve”) proves she can be just as compelling in less passive roles. At times, she even looks like a maiden from a Vermeer painting. As the leper who also serves as a ferryman to and fro the island, Murray Bartlett, a memorable player in season one of “The White Lotus,” is unrecognizable under bandages and makeup, yet still engaging. The rest of the cast, including Bill Skarsgård as Little John, Faith Delaney as his daughter, and Noah Jupe as Godwyn, are sufficiently sturdy.The film naturally belongs to Mr. Jackman. The actor maintains a gritty, grim authority as the repentant Robin Hood, ensuring Mr. Sarnoski’s redemption arc doesn’t feel too schematic. At times, though, the star’s innate charisma still manages to shine through, even amidst his tangle of hair and mass of beard. His scenes with Ms. Comer, in particular, have a tenderness to them that Mr. Jackman emphasizes but never cloyingly.Shot in Northern Ireland, the film’s look is handsome and evocative, though one longs for cinematography that’s more expressive, especially considering its bold takedown of the Robin Hood legend. The same could be said both of the ending, which aspires to a moment of grace but never quite achieves it, and the entire film. While an example of elegant moviemaking, “The Death of Robin Hood” ultimately feels too downbeat, emotionally flat, and simplistic in its narrative outline, despite third-act revelations and truth-telling that call for a more forceful reckoning. Still, there are pleasures and thoughtful provocations in its reconsideration of the folk hero, not least of which is its confirmation of the power of myth.

An Anti-Heroic Robin Hood Without a Trace of Swashbuckling

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