'Robin' from the rich — eh, not so much

Russell Crowe plays an older outlaw with different priorities

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Emerald-green tights, sneering sheriffs anddamsels-in-distress have no place in director Ridley Scott’s “Robin Hood,”which is the latest in an ever-growing series of epics that “re-imagine” afamiliar tale. Brian Helgeland’s screenplay takes Robin — or Robin Longstride,as he is known here — back to his final days in The Crusades and into his firstvisit to Nottingham, where he will meet many of the characters who will becomehis band of Merry Men.

It’s an idea ripe with possibilities. Unfortunately, it’salso the same idea the creators of the excellent BBC “Robin Hood” series hadseveral years ago, and they had more fun with it. Although Scott’s saga isextremely well-crafted and often exciting, it somehow never quite catches fireto become the pulse-pounding, vigorous romantic adventure it aspires to be.

There’s another odd element that’s difficult to overlook aswell: This is supposed to be an “origin story,” but Robin is being portrayed by46-year-old Russell Crowe. Make no mistake: Crowe looks perfectly fit andsuitably savage on the battlefield. Even so, seeing a Robin Hood with flecks ofgray in his beard is a peculiar sight.

This “Robin” layers on the spectacular battle scenes Scottis justifiably famous for staging and it finds an offbeat angle on therelationship between Robin and Marian (Cate Blanchett), who is portrayed hereas a lonely, feisty wife whose husband went to battle with King Richard adecade ago and has yet to return. It also shuffles the deck as far astraditional Robin Hood lore goes, surrounding the story with more historicaldetail — particularly the tensions between England and France in the 12thcentury — and sidestepping most of the “rob from the rich and give to the poor”theme. (Perhaps after Barack Obama’s hot-button “spread the wealth around”quote that idea is considered too touchy.)

Helgeland’s story unfolds in an England in which the farmersand “barons” of the north are almost literally being taxed to death, with therevenue going to fund a seemingly endless war in a far-off land. “We’re notmutton to be made into soup by your butchers!” one nearly penniless noblemangripes to a tax collector; sounds like a possible slogan for the Tea Party’snext bumper sticker.

Yet Prince John (Oscar Isaac) turns a deaf ear to his countrymen’scomplaints and the dire warnings of his mother (Eileen Atkins), while literallysleeping with the enemy, in this case, the saucy French princess, Isabella (LeaSeydoux). John also foolishly puts his trust in odious assistant, Godfrey (MarkStrong), who aids England when he’s in the public eye and France whenever it’spotentially profitable. Godfrey would like nothing more than for Britain tofall into civil war, thus leaving it wide open for an invasion from his Frenchfriends.

And where does Robin Hood fit into all this? Well, he’s justarrived in Nottingham to return an heirloom sword to Sir Walter Loxley (Max vonSydow), father-in-law of Marian, who has been holding the family estatetogether. Touring Nottingham with Marian, Robin quickly becomes aware of theinjustice all around. Where are all the cattle and mutton this pastoralparadise should have? “Sold, eaten, stolen, traded,” Marian reports, and theroyal foot-soldiers just keep coming back for more.

Taking the words on the hilt of the Loxley clan’s sword ashis motto — Rise And Rise Again Until Lambs Become Lions — Robin organizes arevolt against the tyranny of the taxmen and, with help from outcast royaladvisor, William Marshal (William Hurt), a stand against the forces of Franceas well. Marian goes into battle, too, which is hardly a shock when youconsider how frequently Scott’s films have celebrated feminine strength(“Alien,” “Thelma & Louise,’ “G.I. Jane”).

Don’t expect a frolic in the ravishingly robust Technicolorforests of Errol Flynn’s “Robin Hood” or something lighthearted, along thelines of Kevin Costner’s much-maligned 1991 blockbuster (known in some circles as Robin of Malibu). Scott’s “Hood” isawash in muddy, bloody earthiness and subdued shades that mirror its mostlymature, troubled characters.

Crowe brings a convincing gravity and deep-seated determination to Robin (who has been burdened here with a disturbing repressed memory from childhood, a la The Prince of Tides) and there's an appealing note of wary friction and friskiness in his encounters with Marian; hopefully, someone will one day re-team Crowe and Blanchett in a smart romantic comedy. Hurt is quietly commanding, while Strong is suitably loathsome in an intriguing role as a devilish double-agent. Mark Addy, as a beekeeping Friar Tuck, provides some amusing comic asides.

It’s an interesting perspective on the material, and an entertaining film, although this “Robin Hood” doesn’t seem destined tobecome anyone’s favorite trip through Sherwood Forest. 

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