Robin and his Men.

Malmsey Wine

'Come sing low, come sing high;
Come change thy name to mine
And you shall eat my Capon pie
And drink my Malmsey wine.’

I have used this film and its contents as a springboard to finding out many things associated with the Robin Hood legend. So I have often wondered what was the “Malmsey Wine” that Friar Tuck merrily sings about?

The Greek author Didorus Siculus, living during the 4th century BC., described it (Malvasia delle Lipari ) as ‘the nectar of the gods!’ And it is the high yielding ‘Malvasia’ grape, cultivated in those days of Ancient Greece that makes the popular fabulously rich, sweet, wine, that is seeped in history. It was produced by twisting the bunches of the late– ripening grapes, by their stalks and leaving them to shrivel on the well drained soil, before pressing.

Monemvasia or Malvasia, as it was called by the Franks, was a small rocky island fortress and important Greek commercial port. From here the popularity of the wine rapidly spread all around the Mediterranean and was soon produced in almost every vine growing district; Candia, Chios, Lesbos, Tendos, Tyre, Italy, Spain and the Canary Islands, an important destination on the European trade route. The name ‘Malvasia’ was corrupted in Medieval Latin into Malmasia, by the traders, whence the anglicised ‘Malmsey’ originated. The names Malvasia, Malvazia and Malmsey became interchangeably linked.

Vines had been grown in England since the Roman times, but gradually the climate was cooling and by the 14th Century the practice had died out. So expensive wine (costing twelve times more than ale) was imported from France, Germany and the Mediterranean. The best in the world were considered to be produced by the vineyards in the Canary Islands, where the white, robust, fortified ‘Malmsey’ wine was said to travel well. In 1519 trade relations were established between Bristol and the Canaries and soon after, ‘Malmsey wine,’ was found in the cellars of rich households and royal courts across Britain and Europe.

In England, Malmsey or ‘Canary’ wine, as it was often called, became particularly popular, where it was said to ‘cheer the senses and perfume the blood.’ A ‘barrel of Malmsey wine’ was part of William Shakespeare's annual salary and the great poet and playwright makes numerous references to ‘Canary’ through his various characters.

In ‘Twelfth Knight’ Sir Tobias asks Sir Andrew Aguecheek , “ Oh! Knight, thou lackest a cup of Canary.”

The Bard has Mistress Quickly say to Doll Tearsheet at the Boars Head Tavern in Henry IV Part II Act 2:

“I’faith, sweetheart, methinks now you are in an excellent temperality: your pulsidge beats as extraordinarily as heart would desire; and your colour, I warrant you, is as red as any rose, in good truth, la! But , i’faith, you have drunk too much cannaries and that’s a marvellous searching wine, and it perfumes the blood ere one can say ‘What’s this?’ How do you know?’

It was also William Shakespeare who dramatised the legend of the bizarre execution, in a barrel of Malmsey wine, of George Plantagenet, the Duke of Clarence, at the Tower of London in his ‘Tragedy of Richard III’ Act I Scene IV.

First Murderer: Take him over the costard with the hilts of thy sword, and then we will chop him in the Malmsey butt.

Second Murderer: O excellent devise! Make a sop of him.

First Murderer: Hark! He stirs: shall I strike?

Second Murderer: No, first lets reason with him.

Clarence: Where art thou, keeper? Give me a cup of wine.

Second Murderer: You shall have wine enough, my lord, anon.

The word ‘butt’ is derived from two sources, the Anglo-Saxon ‘bytt’ a wine skin made form ox’s hide and the Danish ‘butt’, a wooden tub or container. Both of these would have held approximately 115 imperial gallons.

The expense books of the great households, during the fourteenth and fifteenth centuries, detail the outlay for huge varieties of different wines. In the sixteenth century fifty-six sorts of ‘small wines’ were recorded, besides thirty kinds of Italian, Grecian, Spanish and Canary. Lady Anne of Cleves did not live extravagantly, yet in 1556 her accounts show that her household had:

'Gascon wine at 18s. the tun, to the value of £6. In the cellar, three hogsheads of Gascon wine at £3 the tun; of malmsey, ten gallons at twenty pence the gallon; and of muscadel eleven gallons at 2s. 2d. the gallon.'

At the feast for the enthronement of William Warham as Archbishop of Canterbury in 1504, the records show that wine, ale and beer were provided in incredibly vast quantities:

‘Six pipes of red wine, four of claret, one of choice wine, one of white wine for the kitchen, one butt of Malmsey, one pipe of wine of Osey, two tierces of Rhenish wine, four tuns of London ale, six of Kentish ale, and twenty of English beer.’

I’m sure a merry time was had by all!

© Clement of the Glen 2006-2007

Bill Owen

More the Merrier

Some critics of Walt Disney’s Story of Robin Hood were surprised by the casting of Richard Todd as the outlaw. They said it flaunted a Hollywood tradition by making Robin Hood a sturdy medium-sized man. In place they said, of the long-legged athlete, head and shoulders above all his rivals mentally and physically.

It had been the legendry cartoon producer himself, who had decided on the Dublin born actor. Todd was invited to Burbank in November 1950 and was given a personal tour by Walt Disney of the acres of sound stages and rows of drawing offices, where the animators were busy sketching.

He seemed to know every single one of the workforce, Todd remembers, every where he went he was greeted with ‘Hi Walt’, and he replied, ‘Hi! Jack-or Fred-or Art-or Lou!’

Eventually, Richard Todd continued in his autobiography 'Caught In The Act', we arrived in his office, a large panelled comfy room with a bar at one end. Before we settled down to talk, Walt proudly showed me how, at the touch of a button, the bar became a soda-fountain for youngsters. He adored children, and delighted in surprising them.

Walt Disney introduced his senior live-action producer, Perce Pearce to Richard Todd and outlined his ideas for the planned film. But Todd was doubtful:

With images of Douglas Fairbanks and Errol Flynn in my mind, I simply could not see it as a vehicle for me. I was not physically built to play a larger-than-life swashbuckler, and I could not see myself swinging from the same Sherwood family tree as the mighty Flynn.

Above all, I considered myself an ‘actor’; not for me the Lincoln Green equivalent of Tarzan.

But Walt Disney was very persuasive and explained that his Robin would be as a quick-thinking welter-weight, not a ponderous heavyweight. But Todd remained unsure.

There was a series of ‘agonised phone calls’ from Todd’s agent in California, Milton Pickman. He told the British actor that it would firstly, be a big international movie and secondly that it would pull in a huge world-wide audience of youngsters, probably seeing their first screen programme, to whom Robin Hood would be a hero for ever. Richard Todd remained unsure and to give himself time he promised to read the new script as soon as it was ready.

After Christmas 1950, Todd had read the latest version of the Robin Hood script and liked it. I was beginning to enjoy the thought of larking about in the forest with a band of merrie outlaws-subject to one proviso: that I should not be doubled by a stunt-man in any of the action scenes. I felt that if I could do the stunts myself, however clumsily, then they would be much more believable. Besides, although perhaps not a very practical attitude for a professional actor, it was a small matter of pride-what would my ex-Airborne friends think if they knew that I had been standing around watching somebody else do the dirty work!

In mid January 1951 Walt Disney’s producer, Perce Pearce arrived back in London. Now that I had finally made up my mind, Todd said, I was thrilled at the prospect of working for the great Disney organisation.

A meeting was arranged at his suite at the Dorchester Hotel with Richard Todd and Maud Spector, the leading British Independent casting director. In the afternoon Todd agreed to play Robin Hood and they spent a couple of hours going through lists of candidates for parts in the film. My only contribution, Todd says, was to suggest James Robertson Justice as Little John and this turned out to be a good idea.

Filming was due to start on 30th April 1951. A gymnasium was set up at Pinewood Studios and under the tutelage of top British stunt man, Paddy Ryan, Todd worked out almost every day:

I practised back flips and tumbles that I hadn’t tried since my early army days. Rupert Evans, a former Champion at Arms of the British Army, coached me in sword-play and he and Paddy worked with me throughout the picture. In addition, I had hours of tuition in archery and practice on horseback, with and without bows and arrows. I may not have been the greatest celluloid Robin Hood, but I was certainly going to be the fittest!

Ken Annakin, Disney’s director on ‘Robin Hood,’ described Richard Todd as a .......popular British stage actor, who was no acrobatic movie idol like Errol Flynn or John Barrymore. He was, in fact short like Alan Ladd, and often had to be stood on an apple box, or walk on a plank beside Maid Marion, so that one didn’t notice the discrepancy in height. But Richard was a good trouper.

Nearly sixty years later, we seem to have come full circle! The BBC’s new television series of Robin Hood has had similar mutterings from critics about the hero being a bit on the puny side! One newspaper reporter wrote that the actor playing the outlaw needs to get down the gym and eat some pies!

These harsh words must have affected Jonas Armstrong who plays the leader of the merry men. He admits that when he saw a picture of himself during the launch of the first series, “I looked a bit thin. So I got a personal trainer and I’ve put on a stone and a half in muscle. I now train four times a week and I feel a lot fitter. The stunt guys have been telling me: ‘You look much more confident in your body!’”

Clement McCallin and Joan Rice

Working for Walt Disney

When asked recently how often Walt Disney visited the 'Robin Hood' set at Denham Studios, Ken Annakin replied that the great man didn’t stay very long. It was no more than half a dozen times, sometimes in fact, less than two or three hours, while they were shooting a scene.

It was Perce Pearce, Walt Disney’s chosen producer, who interviewed Ken Annakin at Denham, for the job of director, on the movie. Annakin finally met Disney when shooting had begun. He had already, according to Annakin, set the overall key of what he wanted. Disney was never looking over his shoulder, but the whole movie was sketched out by artists, the way he wanted, and approved by him. Something Ken Annakin had never experienced before.

Disney trusted Perce Pearce as the producer, Annakin said, he came to trust me as the director. He had a great, great trust in Carmen Dillon, Annakin continued, Disney was, dead right in choosing her, his reliance was one hundred percent.

Carmen Dillon was given the responsibility of designing and checking the historical accuracy of everything from props and costumes to the huge historical sets. She would stand quietly and have her say, only, if a prop was used wrongly. I had the final say as director, Annakin said, but one couldn’t have done it without her. Carmen Dillon went on to work for Disney and Annakin a year later, on ‘Sword and the Rose’.


Annakin was also asked if he was concerned about previous films about Robin Hood. We didn’t have Errol Flynn he replied, but no, he wasn’t. All the things we had in the picture were very British and very true. They went up to Sherwood Forest and Nottingham, he said and the script was written, as accurately as possible from all the records. After all, Annakin continued, Walt was making his picture, his version. I think we came up, with Walt’s insistence on truth and realism, probably as near (to the real story) as makes any matter.

At the end of shooting the film was taken back to America, where the whole of the post sync work and post production work was done. As director, Annakin said, he was not called in to help with that. It wasn’t in fact, until he made his fourth picture for Walt Disney, ‘Swiss Family Robinson’ that he was allowed to do anything with the editing or say anything about the music, or anything! Once you had shot it, that was your job as director!

Holiday Postcard

I could not resist showing this traditional British holiday postcard after returning to the shores of England after a weeks vacation.

One Year of the Story

This is the tale of Robin Hood
And of his merry men........

And with Alan a Dale’s opening song from Walt Disney’s ‘Story of Robin Hood’ I began my first posting a year ago. I would like to thank all those that have left their kind words of encouragement in my message book or on the site over this period. There are two people in particular who have added links to this site from their web pages who I would like to thank. Anna Fraser on the ‘Robin Hood Appreciation Society’ site and ‘Robin Hood’ on his ‘Robin Hood 2007.’ Both of these sites are incredibly informative and well worth regular visits (links to their sites can be found in the right-hand column).

During the past 123 postings we have had a look at Denham Studios, some of the lives of the stars of the movie, including James Robertson Justice, Bill Owen, Joan Rice, Peter Finch and others. Also featured was the genius behind the movie, Walt Disney, and the amazing talents of Carmen Dillon, Ken Annakin and Peter Ellenshaw.

Other topics in the years postings, have included the release of the Story of Robin Hood on 8mm Disney Home Movies and the film’s showing on the luxurious cruise ship Caronia.

But this blog is also about the fascinating legend of Robin Hood. So we have examined a couple of the early ballads about the outlaw, the original size of Sherwood Forest, the ruthless rules of medieval forest law and its penalties, Friar Tuck, archery, the quarter-staff and the mystery surrounding the legends of Will Scarlet’s and Little John’s graves. All these posts are labelled in the right hand column where they can be easily accessed.

I am taking a short break, but will be back soon. In the meantime it would be great to hear from some of you. Your comments are always very welcome and encouraging, so please, if you are a first time visitor, or one of my regulars, please drop a line! When did you first hear the story of Robin Hood? Why do you think an English medieval outlaw with a wooden bow and arrow is still popular all over the world in the twenty-first century? Have you seen the new BBC series of Robin Hood and how does it compare to past productions?

See you in about a week!

A Gest of Robyn Hode

Above is one of the earliest images of Robin Hood. It comes from the first page of the Gest of Robyn Hode (c.1508) by Scotland’s pioneer printers Walter Chepman and Androw Myller. This Chepman & Myllar print of the Gest is in the National Library, Edinburgh. But this woodcut image of Robin Hood had also been used before, by one of the first printers of English books, Richard Pynson (1448-1529) as an illustration of the knight’s yeoman, in his edition of Geoffrey Chaucer’s Canterbury Tales (1491) shown below.