Michael Sarnoski's 'The Death of Robin Hood' is a bold reinvention of a legendary outlaw, offering a stark departure from the typical bloody portrayal of the character. The film's core idea, as Sarnoski explains, is to strip down the legend to its essentials, presenting a brutal and realistic portrayal of medieval life. This approach is a refreshing change from the conventional wisdom, where medieval battles are often romanticized as knights in shining armor. Instead, Sarnoski captures the grit and violence of the era, with the film's opening act being unrelentingly brutal and realistic.
Sarnoski's personal connection to the material is evident in his interpretation of the story. Growing up, he was fascinated by the 1973 Disney version of Robin Hood, but also encountered the ballad 'Robin Hood's Death', which tells of the outlaw's death in a quiet, human way. This contrast between the animated, immortal Robin Hood and the mortal, flawed version in the ballad intrigued him, and he wanted to explore this further. The film's exploration of the cycles of violence that have defined Robin Hood's life, and his struggle to leave behind a legacy of pain and violence, is a powerful commentary on the human condition.
Sarnoski's approach to the project was disciplined and thoughtful, with a focus on creating a movie that was right in between the big studio and indie worlds. The budget was reasonable, and the final product is a weird take on Robin Hood, a thoughtful, heartfelt, and dark movie that challenges the audience. The film's visual scope is significant, with a boxier aspect ratio after arriving at the priory, and a commitment to real, striking locations. The opening act's battles are intense and elaborate in their naturalistic choreography, with the actors being put through their paces.
The film's cast, including Hugh Jackman and Jodie Comer, brings nuance and depth to the characters. Jackman's Robin Hood is a kind of 'ogre lion', a cave-dwelling monster that the humans around him are trying to slay, but as the film progresses, he reconsiders his humanity. Comer's Sister Brigid is a steely warm character, a contrast to the typical 'evil nun' portrayal, and her portrayal is a testament to her skill as an actress.
Sarnoski's films, including 'Pig' and 'Day One', present consistent themes and motifs, with loners at a certain impasse, feeling used up and worn out, only for life around them to start opening up again. 'The Death of Robin Hood' follows this trajectory, with a gradual discard of an initial color palette of bleak browns and grays for an array of blues illuminated in natural light. Despite the film's somber tone, Sarnoski never works that way, and the film has a fairly optimistic or hopeful ending, while still doing full justice to the dark side of what's going on.
In conclusion, 'The Death of Robin Hood' is a bold and thoughtful reinvention of a legendary outlaw, offering a fresh perspective on a well-worn tale. Sarnoski's disciplined and thoughtful approach to the project, combined with his consistent themes and motifs, makes for a powerful and engaging film that is sure to spark curiosity and discussion among audiences.
