I like the storyline of this show,it attract me so much

Simply A Masterpiece

Highly Overrated But Still Good

Excellent but underrated film

As the Robin Hood legend goes Robin Hood was the son of a noble forced into outlawry when he defended King Richard I against the usurpation of his brother John. The fictional Robin Hood was ennobled again by a grateful king and he lived for a while happily ever after.But now it's the troubles of a new generation, old Robin Hood played by Russell Hicks opposes the Earl of Pembroke who is the regent for the minor King Henry III, son of King John who Robin Hood had so much problems with. Just the fact that Henry Daniell is playing Pembroke is enough to tell you who the villain is. He wants to do a Richard III number and make himself king. Hicks is getting old, but he's got his son Cornel Wilde to do the real heavy action stuff and he and the Merry Men of both generations get to do their thing again. Wilde is once again The Bandit Of Sherwood Forest.I feel bad for William Marshall the Earl of Pembroke who was the son of the first William Marshall who had the same title. Neither Marshall was a bad guy given the mores of the times. In fact he married the King's sister and had his own entry into the royal family. Daniell, the man with the built in sneer in his voice is aided and abetted by George MacReady and there's a pair of villains to worry about especially in the same film. Jill Esmond plays the Dowager Queen and Mother of the king played by Maurice Tozzin. Her lady in waiting is Anita Louise who is where Cornel wants to make some time with. But saving the king comes first.Wilde is a natural swashbuckler, it didn't hurt his career that in real life he was a master fencer, a member in fact of the US Olympic team before he was an actor. The best parts always seemed to go to Errol Flynn or Tyrone Power.History gets trashed in The Bandit Of Sherwood Forest but with the cast it has, the film is a royal treat.

Of the myriad epic adventures revolving around the legendary figure of Robin Hood, this is the one (despite the inherently low-key nature of it all) to come closest – in spirit, accomplishment and entertainment value – to the definitive 1938 Errol Flynn vehicle: I suppose it was mere coincidence that both had two directors assigned to them! For one thing, the look of the film is just as gorgeous (Tony Gaudio, one of the cinematographers involved, was also partly responsible for THE ADVENTURES OF ROBIN HOOD) but the action is similarly zesty, the leads (Cornel Wilde – actually playing the Son Of – and Anita Louise) equally likable and well-suited, and the rogues' gallery (including Henry Daniell, George Macready and Ian Wolfe – even if, admittedly, only the first gets a character of any real substance) no less formidable. Of course, a good deal of the plot is familiar from previous versions – since the off-spring of the crusading outlaw goes through much the same paces as his father: from the initial antagonism between him and the leading lady, and also between him and Robin's band of "Merrie Men" (apparently, they fail to notice the comparable attire!), to the presence of a usurper on the throne (who not only comes face to face with the hero for the first time when the latter interrupts the Regent's banquet, but the villain even tries to ensnare Wilde via an archery contest which Robin Jr. attends – and wins – under heavy disguise!). The script does, however, supply its own exciting embellishments to the formula, such as devising an elaborate plan to rescue the child king from certain death at the hands of the tyrant eager to get him out of the way – while the expected storming-of-the-castle at the climax by the forces of good takes a back seat to the inevitable duel between Wilde and Daniell (which surprisingly occurs out in the open at nightfall). The supporting cast also includes the likes of Jill Esmond – the ex-Mrs. Laurence Olivier – as the Queen Mother (whose character disappears half-way through), Lloyd Corrigan (as the typically bumbling Sheriff of Nottingham), John Abbott (as Will Scarlet) and Eva Moore (so memorable as Rebecca Femm in my all-time favorite film, James Whale's THE OLD DARK HOUSE [1932], relegated here to only a couple of scenes in one of her last roles). For the record, Wilde, Daniell and Macready would all appear in a number of other enjoyable swashbucklers over the years: interestingly, Daniell had previously dueled with Errol Flynn himself in THE SEA HAWK (1940), whereas Macready would eventually graduate to chief villain for this film's immediate follow-up i.e. ROGUES OF SHERWOOD FOREST (1950; which I actually watched early on in the year) http://www.imdb.com/title/tt0042901/usercomments-2.

Hot off the heels of his starring role as Chopin in A SONG TO REMEMBER, actor CORNEL WILDE was actually a fine choice to play the swashbuckling title role since he was an athlete of Olympian proportions. ANITA LOUISE, originally considered for the Maid Marian role in Flynn's film version, plays the lovely Lady Catherine.It's strictly Saturday matinée stuff from Columbia, splashed with gorgeous Technicolor scenery but unfortunately a script that is only occasionally interesting enough to warrant the royal treatment given the production values and costumes.Interestingly, Tony Gaudio photographed it (he did Errol's ROBIN HOOD) and all of it looks like it was filmed yesterday in the brightest of hues. JILL ESMOND, RUSSELL HICKS (as Robin Hood), LLOYD CORRIGAN, GEORGE MACREADY, EDGAR BUCHANAN (as Friar Tuck) and reliable villain HENRY DANIELL (wickedly plotting the death of a boy King) are all satisfactory in supporting roles. Only really miscast actor seems to be JOHN ABBOT as Will Scarlett.It works on a certain level as a zestful Robin Hood film, but is really nothing special despite spirited performances by CORNEL WILDE and ANITA LOUISE as the leads.For an entertaining hour and twenty minutes, it's well worth watching but it's directed without any particular style by George Sherman.

This is the one where Columbia decided to re-do Warner Brothers' ROBIN HOOD [1938]. But there was a problem. That one ended- like World War II- with Robin vanquishing England's enemies; now boring old peace had broken out again and both Richard the Lionheart and Robin were nearing the colostomy bag stage. Hell -Robin hada been doing sumpin all those years? Heck yes! He had done what every returned American GI did -he procreated! He had a son -Bob Hood [Cornel Wilde] who looked more Czechoslovakian than English but no matter. Same dab hand with a bow a blow and a beauty, same mindless sense of humour -a pea from the pod you might say; except he couldn't be pea green like colostomy-quivering Robin, but grey. Grey Bob was allowed green underwear, though.So much for his hose -but what about foes? History was singularly unhelpful, because in spite of green Robin & his Geriatrics' heroics the dreaded King John succeeded King Dick and died in his bed. So -what do do? Well. Columbia's script department came up with the despotic Regent [Henry Danielle] who could have been any one of a number shadowy XII century characters, and -straight from an American child-actor catalogue- a boy King [Maurice Tauzin] who had to be prevented from signing anything.So, Bob with a cause still needed to get his paws on a broad. Enter a bleach blonde cut-price Betty Grable with a voice to die from, Lady Catherine Maitland [Anita Louise] and this technicolor 1940 period Valhalla was complete. This movie is unique for raising awareness of [1] medieval colour blindness -because in spite of having red lips that would halt freeway traffic, and a bombshell hairdon't, Anita Louise manages to pass herself off as the Prioress of Buxton -and [2] the little-known practice of becoming muscular on half female prison rations -which Bob did before putting paid to the evil Regent.Generally the supporting players, Jill Esmond [Queen Mother] looking older than 38, but back in movies after being deserted with a new-born baby in 1940 by Laurence Olivier for Vivien Leigh, Lloyd Corrigan [Sheriff of Nottingham] and George Macready [Fitz-Herbert], helped make this the kind of movie which made -not only kids but adults- leave the cinema feeling braver, stronger and more righteous.