Neet Shirt Insert

How about this for a rare piece of Disney memorabilia?

This is an insert cardboard from a ‘Neet’ Shirt Box which featured a paper toy colouring picture from Walt Disney's live-action movie, The Story of Robin Hood. Above is shown Little John no.10 from the movie.

Errol Flynn & Basil Rathbone

Warner Bros.'s The Adventures of Robin Hood (1938) is often quoted as being the best cinematic adaption of the legend ever made. It is without doubt as masterpiece from the golden age of Hollywood. Its final cost was $2,033,000 by the time it was previewed on May 14th 1938 in Pomona, California. On April 11th a second preview was held in Los Angeles and a third followed at Warner's Hollywood theater, two weeks later. It was a triumph in every department.

Errol Leslie Flynn's natural acting talent and disregard for authority combined to create cinema's definitive characterization of the medieval outlaw. A role originally designed for James Cagney!

I am sure I am not alone, when I say that Disney's Story of Robin Hood (1952) stands up just as strongly. In fact as far as the script is concerned, Disney's adaption is more faithful to the ancient medieval legend. A tribute to the extensive research carried out before a single frame of film was shot and the writing skills of Lawrence E. Watkin. Also the rich array of talented British production staff, actors and the lush English countryside could not fail to provide Walt Disney with the Robin Hood film he wanted.

During the planning stages of The Story of Robin Hood, it is doubtful whether Disney watched a screening of the Warner Brothers 1938 version. But he no doubt, would have been familiar with the stunning climactic scene between Flynn and Basil Rathbone as Guy of Gisborne in Nottingham Castle.

Michael Curtiz created one of cinema's most memorable images, by throwing huge shadows of the duelists against the rugged stone pillars on the castle set. The movements of Flynn and Rathbone were then elegantly blended with the shadows by cameraman Sol Polito.

Basil Rathbone was at that time the most expensive free-lance actor in Hollywood and had played a whole host of villains, including Mr Murdstone in David Copperfield (1935) and Pontius Pilate in The Last Days of Pompeii (1935). But this part as Robin's arch enemy - Sir Guy of Gisborne - gave the Shakespearean actor and accomplished fencer, the finest role of his long career.

The Pickwick Papers

My dad enjoyed reading the novels by Charles Dickens, particularly The Pickwick Papers. So there is a nice tie-in with James Hayter, pictured above, who played the leading role as Samuel Pickwick and Friar Tuck in Walt Disney’s Story of Robin Hood. Both films were released in 1952.

A special thank you, for all your kind words at this difficult time.

I will be taking a break from posting for a week. My father passed away last night in hospital. He was 84. During his life, he had been a very brave soldier, a loving husband, father and grandfather.

After leaving the army, he had worked as a compositor for a local printing press. It was his love for the printed word and the rich tapestry of English history and literature that inspired me. I am going to miss him terribly.
God bless Dad.

Guy Green

Guy Green was Director of Photography on Walt Disney’s ‘Story of Robin Hood.’ As a co-founder of the British Society of Cinematographers, Green was to become a leading figure in Britain and the United States for over 40 years.

Green was born in Frome, Somerset on November 5th in 1913. His first love was always the cinema and much of his early childhood was spent watching his favorite westerns and the classic silent comedies on the silver screen at his local Picture House.

After leaving school he found work in the Commercial Maritime Service as a projectionist on the cruise liner ‘Majestic.’ This eventually led to his first early steps in the film business as a ‘clapperboy’ and camera assistant for Sound City advertising agency.

In London’s Soho, Guy Green opened his very own studio, where he worked as a portrait photographer. But still in his early twenties, he finally made his way into motion picture production, when he was hired as a camera assistant at Elstree Studios in 1933. He soon progressed to ‘focus puller’ and later as ‘director of photography.’

But it was at Denham Studios filming ‘One of Our Aircraft is Missing’ in 1942 that Green first met up with David Lean. Lean at that time was employed as film editor and the two of them soon struck up a firm friendship. When Lean became a director he brought in Guy Green as his camera operator, on Noel Coward’s ‘In Which We Serve’ (1942) and ‘This Happy Breed’ (1944).

Green soon began gaining a reputation for his stunning atmospheric cinematography and David Lean put that talent to brilliant effect when they teamed up on ‘Great Expectations' (1946). This classic of British cinema, which included Martitia Hunt as Miss Havisham, gained Guy Green an Academy Award-the first British director to do so.

Two years later the collaboration worked again with another masterpiece, ‘Oliver Twist’ (1948). It was on the set of this movie that Green first met his future wife, Josephine. They later had two children, Marilyn and Michael; both were later involved in the film industry.

After his success with ‘Great Expectations’ and ‘Oliver Twist’, Guy Green- together with Freddie Young and Jack Cardiff-founded the British Society of Cinematographers. His work continued with 'The Passionate Friends' (1949), 'Adam and Evelyn' (1949), 'Madelyn' (1950), 'Captain Horatio Hornblower R.N.' (1951) , 'Night Without Stars' (1951) and two for Walt Disney, 'The Story of Robin Hood and his Merrie Men' (1952) and 'Rob Roy, the Highland Rogue' (1953).

By the mid-fifties Guy Green, inspired by David Lean, gave up cinematography and started directing. His first major success came with 'The Angry Silence' (1960) starring Richard Attenborough and Michael Craig. This controversial film about a man’s experience of refusing to take part in an unofficial strike, was Britain’s first entry at the Berlin Film Festival. It went on to win the International Critic’s Award.

Green’s successful work as director, continued with ‘The Mark’ in 1961. With strong performances by Stuart Whitman, Maria Schell and Rod Steigar, this powerful drama about a 33 year old man re-building his life after being released from prison for intent to commit child molestation was nominated for many awards including the Palme d’Or at the Cannes Film Festival.

In 1962 Guy Green moved to Hollywood and began filming, what he later described as his ‘proudest work,’ ‘A Patch of Blue.’ Written, directed and produced by Green, this interracial drama about a chance encounter between a blind girl (Elizabeth Hartman) and a black office worker (Sidney Poitier), was nominated for five Academy Awards. Green was nominated for a Writers Guild Award and Shelly Winters received an Academy Award as Best Supporting Actress for her role as the blind girl's prostitute mother.

He had success in 1973 with his re-direction of John Osborne’s ‘Luther’ for the American Film Theater. But over the next ten years his work failed to reach the high standards he had previously set. ‘The Magus’ (1968) received a critical mauling and ‘Jacqueline Susann’s Once Is Not Enough’ (1974) was described as ‘garishly budgeted and ponderously executed.’

Green turned in 1979 to directing American TV movies. His last production was Arthur Hailey’s ‘Strong Medicine’ (1986).

The British Academy of Film and Television Arts gave Green a Lifetime Achievement Award for his outstanding contribution to World Cinema in 2002 and in 2004 he was named as Officer of the Order of the British Empire for his lifetime contributions to British cinema.

After a long illness he passed away at his Beverly Hills home on September 15th 2005 aged 91.

© Clement of the Glen 2008

Richard Todd and Joan Rice

Merry May Day to all my readers!

Today is the first day of May. A time of great celebration dateing right back to pagan times. Robin Hood became linked with the spring and summer festivals at an early stage and I shall look at this aspect of the legend in the future. In the meantime, here is the lord and lady of May, Robin Hood and Maid Marian (Richard Todd and Joan Rice).

22: A Toast To The King

Stutely growled and threw a portion of meat across the table. But the Sheriff defiantly folded his arms.

“Surely my Lord,” said Robin, “you’ll not disdain our fare?”
“I have no taste for venison killed by poachers!” De Lacy said.

Robin looked at Stutely, “Can you put an edge on his appetite?”

Stutely leaned across and raised his knife to De Lacy’s throat. The Sheriff immediately started to cram some venison into his mouth. Robin then called for a bowl of ale to help the prisoner wash down the meal.

“You eat and drink of the best when you dine with us!” Said Robin. “This ale is of the ripe October brewing. The Bishop of Hereford was sending it to you but we diverted to a nobler cause, for we drink to the health of OUR KING!”

The outlaws rose as one man to pledge the toast except the Sheriff, who remained seated.

“On your feet sir!” Thundered Robin Hood.
Reluctantly De Lacy got to his feet.

“To Richard of England!” Cried Robin, “God grant him health and long life. Speak up!”
The Sheriff slowly muttered the words as Robin continued.
“Also confusion on his enemies, be they peasant……..or prince.”
The Sheriff mumbled, “…...or prince.”

The toast was concluded nosily.

“Now that you have pledged your king as a loyal subject, we’ll speed you on your way.”
“First, said Will Scarlet, “he must pay for his cheer.”

Robin looked across at the Friar, “will you look to the reckoning and give fair dealing as an honest son of the church?”
The bulky friar moved across the table beside the sheriff and began to scratch figures on the rough boards.

“Nine pennies for the meal;” he began as De Lacy looked suspiciously, “and for that lad’s wounded back, nine crowns.

“For my cracked head and the loss of my cattle,” Scathelok shouted, “twenty shillings!”
“Twenty for my barn burned and my taxes tripled!” Shouted Adam.

Then came demands from all around the table.

(To read earlier chapters of the story click on the label 'story' below).

Mexican 'Story Of Robin Hood' Poster

Robin Hood And The Potter

Another of the early Robin Hood ballads, Robin Hood and the Potter survives in only one manuscript (Cambridge University Library M.S. Ee.4.35 fos. 14v-19) and appears to have been taken down by recitation. The language is even more difficult than Robin Hood and the Monk and one page of the 24 page manuscript significantly details the expenses for the feast of the marriage of Henry VII’s daughter, Margaret Tudor, to James IV of Scotland on 8th August 1503. The scribe, writing in a ‘clear and bastard hand,’ seems to have omitted a line, but the rest is complete.

Two important features emerge from this story; firstly there is Robin Hood’s unusual dealings- in early ballads- with a woman, in this case the Sheriff’s wife and secondly the hero loses the battle with the potter. This sets the trend for the many later inferior ballads, where Robin challenges and loses to diverse rustics and tradesmen.

The ballad opens with the traditional forest opening:

In schomer, when the leves spryng
The bloschoms on every bowe,
So merey doyt the berdys syng
Yn wodys merey now.

Herkens, god yeman,
Comley, cortessey, and god,
On of the best that yever bare bou,
Hes name was Roben Hode.

Little John warns Robin of a proud potter he had encountered at ‘Wentbreg’ (probably Wentbridge in Yorkshire) who had hit him three times with a staff. They wager forty shillings that Robin can’t make him pay a levy for passing through Barnsdale.

Robin eventually meets the potter:

‘All thes thre yer, and more, potter,’ he seyde,
‘Thow hast hantyd thes wey,
Yet were tow never so cortys a man
On peney* of pavage to pay.’ *1 penny.

They start to fight, Robin with a sword and buckler and the potter with a ‘two-hand’ staff.

Togeder then went thes to yemen,
Het was a god seyt to se;
Thereof low Robyn hes men,
There they stod onder a tre.

But:

The potter, with a caward* stroke, * back-handed.
Smot the bokeler owt of hes honde.

And ar Roben meyt get het agen,
Hes bokeler at hes ffette,
The potter yn the neke hem toke,
To the gronde sone he yede.

The potter teaches Robin a lesson in good manners and Little John wins the bet. Robin, being so impressed with the potter’s skill, befriends him and talks him into exchanging clothes. So dressed as a potter, Robin rides into Nottingham, where he sells fivepenny pots for the price of threepence.

Yn the medys of the towne,
There he showed hes ware;
‘Pottys! Pottys!’ he gan crey foll sone,
‘Haffe hansell ffor the mare!’

Ffoll effen agenest the screffeys gate
Schowed he hes chaffare;
Weyffes and wedowes abowt hem drow,
And chepyd ffast of hes ware.

Eventually he only has five pots left, which he presents as a gift to the sheriff’s wife.

‘Ye schall haffe of the best,’ seyde Roben
And sware be the Treneyte;
Ffoll corteysley he gan hem call,
‘Come deyne with the screfe and me.’

So Robin goes to dine with the sheriff. While they eat, two of the sheriff’s men wager forty shillings over who is the best archer. A contest is held and Robin, still disguised as a potter is invited to join in.

All they schot abowthe agen,
The screffes men and he;
Off the marke he welde not ffayle,
He cleffed the preke on thre.* *He broke the wooden marker into three parts.

The screffes men thowt gret schame
The potter the mastry wan;
The screffe lowe* and made god game, *Laughed.
And seyde, ‘Potter, thow art a man;

They all wonder how a potter could be so skilled with a bow, so Robin reveals a bow to them given to ‘Robin Hood himself!’

‘Knowest thow Robyn Hode?’ seyde the screffe,
‘Potter, y prey the tell thow me;’
‘A hundred torne* y haffe schot with hem, *turns/bouts
Under hes tortyll-tre*.’ *trysting tree

Robin promises the sheriff to take him there. So next day Robin, still disguised as the potter, takes the sheriff deep into the forest. Robin then blows his horn and is soon surrounded by his band of outlaws. Little John laughs and asks Robin how he fared as a potter. The sheriff soon begins to regret his wish to see Robin Hood.

‘Had I west that befforen* *Known that before.
At Notynggam when we were,
Thow scholde not com yn ffeyre fforest
Of all thes thowsande eyre.*’ *Years.

‘That wot y well,’ seyde Roben,
‘Y thanke God that ye be here;
Thereffore schall ye leffe yowre hors with hos*, *Us.
And all yowre hother gere.’

The outlaws take all the sheriffs belongings and send him back to Nottingham on foot, telling him that he would have suffered a lot worse, if it had not been for his wife’s kindness and hospitality towards Robin.

Hether ye cam on hors ffoll hey*, * At rapid speed.

And hom schall ye go on ffote;
And gret well they weyffe at home,
The woman ys ffoll godde.

The sheriff’s wife laughs loud and long at her husband’s discomfort. The ballad ends with Robin paying for the pots.

Thes partyd Robyn, the screffe, and the potter,
Ondernethe the grene-wod tre;
God haffe Mersey on Roben Hodys sole,
And safe all god yemanrey!