Behind the Scenes

 A look behind the scenes of this black-and-white still shows expert archers James Hemmings and George Brown firing the arrows. They were hired by Second Unit Director Alex Bryce, the man responsible for the film's thrilling outdoor action. In the photo, Bryce sits near the camera crew with producer Perce Pearce. The production team built a realistic riverbank set along the River Colne right on the Denham Studios lot, perfectly framing the flowing water behind star Richard Todd. Captured in mid-summer 1951, this meticulous setup translated into a stunning colour shot on the big screen.

Intensive Preperation

Stephen Grimes with continuity sketches

 Since I started this blog twenty years ago, Neil Vessey has regularly provided me with fantastic behind-the-scenes information and rare stills from the production of Walt Disney’s Story of Robin Hood (1952). This exceptionally rare magazine article he has kindly shared with me, is truly one of the best. Featuring never-before-seen behind-the-scenes images and fascinating details, it’s an absolute must-see for all fans of this wonderful film:

“After many weeks of intensive preparation, the new Walt Disney all-action film in Technicolor, “Robin Hood”, has gone before the cameras at Denham Studios. The first shot was made on April 30.

The last two weeks before the unit went into action were a time of great activity among the double-strength set-up, which will be filming inside the studio and on location in different parts of the country.

Daily conferences were held between producer Perce Pearce, scriptwriter Laurence Watkin, art director Carmen Dillon, director Ken Annakin and lighting cameraman Guy Green, to ensure coordination on the floor.

As the first two sets-the exterior of Huntingdon Manor and the Robin Hood cave and forest encampment-took shape and colour on the Denham stages, the plasterers’ shop continued non-stop production of the many other 12th-century Nottinghamshire buildings and interiors for the story.

In the Art Department, walls covered with over a thousand continuity sketches, the works of Stephen Grimes, told the story of the film in minute detail, while enormous tables bearing scale models of the sets, made by Ivor Beddoes, illustrated with great accuracy the landscape and buildings of 12th-century England.

Art Director, Carmen Dillon

Outside the studios, Alex Bryce, directing exterior scenes, has toured the countryside with a camera unit headed by Geoffrey Unsworth, seeking suitable locations for river and forest scenes in which the film abounds.

In the pattern shop, under the supervision of Bill Evans, 12th-century utensils, furniture, carts and carved chests were turned out and mellowed under the watchful eye of historical expert, Dr. Charles Beard.

Bill Evans and Dr. Charles Beard

Hair stylist Vivienne Walker and make-up expert Stuart Freeborne gradually transformed the cast into likenesses of their historical counterparts, and members of the cast, too, were fully occupied in learning and practising the many skilled arts in which the film calls for them to be accomplished.

After months of interviews and tests, casting director Maude Spector finalised the huge cast which the vast scale of the production necessitated….

In addition to Richard Todd, Joan Rice, James Robertson Justice and James Hayter, in leading roles as Robin Hood, Maid Marian, Little John and Friar Tuck, respectively. Hubert Gregg will play the scheming Prince John, Anthony Eustrel the Archbishop-churchman, soldier and advisor of Queen Eleanor of Aquitaine, played by Martitia Hunt.

Then Walt Disney has signed many other fine actors to play important featured roles: Peter Finch as the notorious Sheriff of Nottingham, Patrick Barr as Richard the Lion Heart, Anthony Forwood as handsome Will Scarlet, guitar playing Elton Hayes as the roving minstrel Allan-a-Dale, Michael Hordern as Scathelock, a persecuted farmer, Bill Owen as Stuteley, a poacher, and Hal Osmond as the celebrated Midge the Miller.

Walt Disney will arrive in England to supervise the production of “Robin Hood.”

THE CINEMA STUDIO May 1951

Shooting at Robin

Producer Peace Pearce (seated, wearing the white hat) is pictured with Alex Bryce and the second unit crew as they film the scene where Robin Hood climbs the riverbank under attack from the sheriff’s men. Take a look at the archer standing behind Robin (Richard Todd), bow drawn—let’s hope his aim is off!

There are plenty more behind-the-scenes moments to explore on this blog—just click the link!

Behind the Scenes

Here’s a glimpse into some rare behind-the-scenes moments at Denham Studios in Buckinghamshire, captured during the production of Walt Disney’s 1952 film The Story of Robin Hood. First, we see the talented art director Carman Dillon demonstrating camera movements in front of the Nottingham Castle set to Walt Disney. Next is Joan Rice arriving at the studio on her bicycle—likely the same one she kept falling off, according to director Ken Annakin. 

Annakin himself appears in the following image, directing the scene where King Richard departs for the Crusades. Finally, we catch a moment with Friar Tuck’s dog resting before his spirited chase after the Sheriff.

Carman Dillon with Walt Disney

Joan Rice arrives at the Studio

Ken Annakin at Nottingham Castle

The trainer with Frair Tuck's dog

Making The Story III

Richard Todd and Antony Forwood on bicycles

Richard Todd as Robin Hood and Anthony Forwood (Will Scarlet) arrive in Burnham Beeches on bicycles for some location shooting, just seven miles from Denham Studios. And, is that the actress Martitia Hunt on a motorbike (below)? 

We will also see Joan Rice on a bicycle later. Let's take another glimpse behind the scenes of the making of Walt Disney's Story of Robin Hood and his Merrie Men (1952).

Is this Martitia Hunt?

This is the third and final part of my look at Walt Disney's Riddle of Robin Hood (1951). This promotional film was for his live-action Technicolor movie The Story of Robin Hood and his Merrie Men (1952).

I must apologise for the quality of the images in this article as they are simply taken from the grainy original film. But they give us an exclusive glimpse behind the scenes of the making of The Story of Robin Hood.

Joan Rice arrives at Denham Studios

The director Ken Annakin bemoaned in his autobiography how Joan Rice (1930-1997) would ride her bike everywhere and sometimes fall off. In the latter part of The Riddle of Robin Hood, we see the beautiful actress (above) leave her cottage and ride through the gates of Denham Studios.

Nearly all of The Riddle of Robin Hood has been uploaded on YouTube and can be seen under the title: How Disney Made The Story of Robin Hood (1952) | You Asked For It. But, sections are missing, including Walt Disney with art director Carmen Dillon examining a model of Nottingham castle's drawbridge (below).

Carman Dillon and Walt Disney

Another interesting shot (below) shows director Ken Annakin and producer Perce Pearce planning a scene, while some of the cast take a break.

Kan Annakin and Perce Pearce

A young award-winning director of photography, Guy Green is shown using one of the huge Technicolor cameras in the castle (below).

Guy Green filming in the castle

The narrator of The Riddle of Robin Hood (possibly Hans Conried, the voice of Captain Hook in Disney's Peter Pan) claims that the animals used in The Story were authentic to the medieval period. The horses, shown below were English hunters and proved quite temperamental during filming.

The horses on set in Nottingham Square

And finally below, is an interesting shot of the mastiff with its trainer and the crew filming the scene when Friar Tuck's dog chases the sheriff across a stream.

The mastiff with its trainer

A huge thank you to Neil Vessey for making The Riddle of Robin Hood available for me to see.

Making The Story II

Ken Annakin starts filming inside Nottingham Castle

This is my second blog post about the short promotional film 'The Riddle of Robin Hood'. My first article described how this 12-minute movie was the idea of Disney legend Bill Walsh (1913-1975), pictured below. The film showed some fascinating behind-the-scenes footage of the making of 'The Story of Robin Hood and his Merrie Men' (1952). The image above is a good example and shows director Ken Annakin starting to shoot a dramatic castle scene.

As you can probably guess, I have always loved the movie, 'The Story of Robin Hood'. It triggered not only my interest in the legend of the outlaw but a love of history. 

There were reports that Warner Brothers, the makers of the classic 1938  'Adventures of Robin Hood' starring Errol Flynn, resented the fact, that an animation studio, was lining up to film a new live-action version in the early 1950s. Producer Perce Pearce admitted that at that time, it would be the 14th film interpretation.

So, Walt knew that he needed to approach the story differently. The main message put across in the 12-minute promotional film, 'The Riddle of Robin Hood,' is that their Robin Hood film would be historically 'accurate' and shows the research crew's trip to England.

One of the team inspected a medieval manuscript

Richard Todd, producer Perce Pearce, scriptwriter Lawrence Edward Watkin, historical advisor Dr Charles Beard and art director Carmen Dillon visited Nottingham City Library, Nottingham Castle, Newstead Abbey, Edwinstowe, Sherwood Forest, Ollerton, Creswell Crags, Nottingham’s Caves, the Salutation Inn and the Trip to Jerusalem Inn. Their quest was to 'bring the REAL story of Robin Hood to the screen.'

Richard Todd explores a limestone cave

The narrator describes how they sifted through hundreds of manuscripts and old documents in museums and libraries across England. Even inspecting the ballads sung by minstrels.

We get to see art director Carmen Dillon's original drawings and model for Nottingham Square (above) that have been inspired by all the historical research. 

One of the research crew and advisors on the film was Dr Charles Beard, seen above, described as a historical scholar and expert on the "mode and the manners and customs of medieval England".  But, I don't think they had cigarettes in those days!

A very interesting moment in the 'Riddle of Robin Hood' is seeing Richard Todd being trained by Rupert Evans, 'England's outstanding authority on ancient and medieval combat'.

"Even the horses typical of Robin's time and place were sought", says the narrator, "not Hollywood cow ponies or Arabian stallions, but English hunters, of a breed familiar to the period."

Evidence of attention to historical detail by Carmen Dillon's art department can be seen in the still above showing an example of a Norman arch of the 11th and 12th Centuries.

It was Perce Pearce, Disney's director on 'The Story of Robin Hood' who was tasked to find a young British actress - 'perhaps someone relatively unknown, who suggests the countryside, but is also aristocratic.' 

Six girls auditioned for the role. Out of the six, it was twenty-one-year-old Joan Rice (1930-1997) who was chosen for a screen test at Denham Studios, in full costume in February 1951. The tests were then sent back to Walt in America. After seeing Joan he told Perce Pearce, that she has quality, a "great little emoter, the camera loves her, she gets my vote!"

 

During the beginning scenes of 'The Riddle of Robin Hood', I spotted Perce Pearce carrying an image of Joan Rice (above). 

The image above of Joan (above) might possibly have been used for a screen test.

I want to thank regular contributor Neil Vessey who originally tracked down the 'Riddle of Robin Hood'.

More to follow.

Making The Story

Walt Disney reading Robin Hood

In 2008, I was lucky enough to watch Walt Disney’s 12-minute promotional film ‘The Riddle of Robin Hood.’ This is an extremely rare piece of cinematic history. What it reveals is the amount of groundwork and research Disney and his staff carried out before a single frame of his lavish Technicolor movie  ‘The Story of Robin Hood and his Merrie Men’ was shot.

Producer Perce Pearce, Richard Todd and the research team

Walt Disney’s production crew, including producer Perce Pearce, scriptwriter Lawrence Edward Watkin, historical advisor Dr Charles Beard art director Carmen Dillon and Richard Todd visited Nottingham City Library, Nottingham Castle, Newstead Abbey, Edwinstowe, Sherwood Forest including Robin Hood’s Larder (now gone) and the Major Oak, Ollerton, Creswell Crags, Nottingham’s Caves, the Salutation Inn and the Trip to Jerusalem Inn.

Richard Todd climbs the Major Oak

The idea for this short promotional film came from Bill Walsh (1913-1975). His career with Walt Disney began in June 1943. Initially, he started as a joke writer and publicist, which led to work on the syndicated Micky Mouse cartoon strip. But this portly, cigar-chomping New Yorker would later become one of the most successful producers in entertainment history.

Disney soon noticed Walsh's talents in publicity and put him in charge of the studio’s first television production ‘One Hour in Wonderland,’ which aired on Christmas Day in 1950. Later, when the studio began planning their second live-action movie, ‘The Story of Robin Hood and his Merrie Men’ in 1951, Disney invited Walsh over to England.

Left to right. Perce Pearce, Walt Disney, Lawrence Watkin

Once in England, Walsh put his instinct as a publicist to good use and conceived the idea of a 12-minute promotional film about the making of this new Disney live-action movie. He called it 'The Riddle of Robin Hood' and it included details about the amount of research the studio had made into the ancient legend and backstage production scenes. The Riddle of Robin Hood was shown in schools, cinemas and TV stations across the country. Walsh described Disney as being delighted because:

“We were getting a lot of mileage out of this goofy little film and Walt was sort of enchanted by all that free space promoting the film.”

Today, Walsh's 'goofy little film' gives a fascinating insight into the Disney studio’s live-action production of Robin Hood.  It takes you behind the scenes, right from the early research, the planning stages, set construction and on to the filming at Denham Film Studios in 1951. 

To be continued soon…

Carmen Dillon's Robin Hood

Scathelock is put in the stocks

Neil has been a regular contributor to this blog for many years and shown above is a still that he recently sent to me. It is of course from Walt Disney's Story of Robin Hood and his Merrie Men (1952). I love seeing these images from my favourite movie. When concentrating on the film's

action, it is easy to miss some of this detail. Look at the elaborate hinges on the door for example.

It was Carmen Dillon (1908-2000) who was given the job of art director on Robin Hood by Walt Disney. She had a fine reputation on both sides of the Atlantic for imagination and artistic flair allied to a practical approach to set design and construction, which had been evident in her art direction of some of the biggest and most highly praised period films made in Britain at that time, including Henry V and Hamlet, for which she won her Oscar. 

Carmen Dillon discusses the design of Nottingham Square

Catherine O'Brien in her article, Carmen Over Came Prejudice
 ..........And Put On Her Slacks, gives a detailed account of this remarkable woman and her work on Robin Hood:

"Small and neat of figure, with greying hair and light blue eyes, Carmen Dillon was born in Ireland. After she had qualified as an architect, she became greatly attracted by the artistic possibilities of film set design and set out to get a job which would train her in this field. It is strange to reflect that this happened only fifteen years ago and yet at this time no one in film studios would take the idea of a woman art director seriously.

Carmen discussing a castle interior

Anyone knowing Carmen Dillon, however, would realise that such an attitude would only serve to strengthen her determination to attain her objective. Eventually, she obtained toe-hold in a studio at Wembley, as an assistant in the art department. Even then petty restrictions beset her at every turn. She was not permitted to go on a set in slacks and was forbidden to discuss her work with the men in the studio workshops and stages. After a few weeks of making the best of this difficult situation, Carmen was asked to take over the work of an art director who had fallen ill on the eve of a production. By proving her undoubted talent and aptitude for production design she was able to overcome the prejudice which had hitherto hampered her career.

The townsfolk turn on the Sheriff

On Walt Disney’s Robin Hood, Carmen was in control of a staff of over two hundred men, who accepted her advice and judgement with the same respect and deference as they would accord to any male art director. Among the technicians, she has earned, through her skill and tact, a reputation for knowing exactly what she wants, without fuss or muddle. She carries all the details of planning and building the sets in her head and has a remarkable knack of foreseeing and thus forestalling building problems.
Before the stage is set for the actors, the lighting cameraman and the director, Carmen plans the work, step by step, with fastidious detail. In the case of Robin Hood, the first step was research, to ensure that the pictorial effect should have a truly authentic 12th-century keynote.

Collecting for the King's ransom in Nottingham Square

Two of the twenty-five interior sets designed by Carmen Dillon for Walt Disney’s Robin Hood serve to illustrate the immense research and artistry with which she conjured up the background and atmosphere of 12th-century England. One of- Nottingham Square, in the reign of Richard Lionheart-was, constructed both on Denham lot and on one of the studio stages-to cater for both units.

Three sides of an irregular square were surrounded by houses, some half-timbered and all pre-fabricated in the plasterer's shop under the direction of Master Plasterer Arthur Banks. The houses and shops made of plaster and wattle (which was, in fact, the building material of that period) had every appearance of solid antiquity in despite of their backing of tubular steel scaffolding. Most imposing was the Sheriff’s house, with its carved arches and steep outside staircase. Thatching was carried out by one of Britain’s oldest surviving craftsmen in this line Mr A. Gilder of Stoke Poges.

The centre of the square was filled with wattle hurdles and pens in which were enclosed game and produce of every type. By the time the stars, featured players and extras-numbering up to two hundred-had taken their place in the square it was hard to imagine a more convincing reproduction of life in 12th century England. It is in this setting that Robin Hood and his men ride in from the forest to rescue a poacher and a farmer who are suffering at the hands of the Sheriff of Nottingham and succeed in turning the tables on their hated persecutor.

The Outlaws receive a signal

One of the most important sets in the film is the Sherwood Forest camp where Robin Hood and his Merry Men live in outlawry, in their woodland hideout. Some weeks before the film, Carmen accompanied a research party including producer Perce Pearce, scriptwriter Larry Watkin, and film star Richard Todd to Nottingham and returned laden with photographs of every relic of Robin Hood days, which would help her construct the original setting at Denham Studios.

In what little remains of the original Sherwood Forest, Carmen studied the Queen Oak, where Robin Hood and Maid Marian are said to have their trysting-place; Robin Hood’s Larder, another giant oak, where legend has it, the outlaws stored their game and the vast labyrinth of caves at the foot of Creswell Crags, where Robin Hood and his men are said to have hidden their horses when the Sheriff of Nottingham was on their tracks. 

Back in the studio, Carmen incorporated many of these features of the Robin Hood country into her set design, which then became the subject of a conference between producer Perce Pearce, scriptwriter Larry Warkin and herself before passing it into the hands of the draughtsmen and model makers in her art department. From their blueprints and scale models the construction manager, Gus Walker, was then able to allocate to the various departments concerned the work required to bring the sketch into concrete existence".

Carmen plans Nottingham Square

Carmen Dillon was without a doubt one of the main reasons Disney's Story of Robin Hood oozed quality. I believe her remarkable talent needs to be highlighted a lot more. 

In an interview, Ken Annakin, the director of Robin Hood said of her:

"Carmen was one of the great art directors on the European scene. Not only was she an accomplished painter, but she was able to supervise big set construction and set-dressing, down to the last nail. So much so, that sometimes when I was lining up a shot, I found her a bit of a pain in the ass because she would insist that her designs and her visual conception of a scene must be adhered to, whereas I regarded the sets only as a background for the actors".

Carmen Dillon plans another set

Annakin went on:

"He [Walt] didn’t stay very long on Robin Hood. He had great trust in Carmen Dillon, who was responsible for the historical correctness. Everything, from costumes to sets to props and he - I’m not so sure why he was so certain - but he was dead right at having chosen her. And she did that picture and Sword and The Rose too. And his reliance was 100%. A director can’t go into every historical detail and so I would check with her also, pretty well on most things. And she would quietly be on the set and if we used a prop wrongly, she would have her say. Mine was the final say, as director, but one couldn’t have done without her ".