3 Short Paragraphs (Or Not): The Death of Robin Hood

2026, Michael Sarnoski (Pig) -- download

I've had a story in my head for a few years now. A few actually, tied together. One speaks of The Slayer or The Unkillable; he's had a few names. It tells of an unkillable (duh) sword wielding warrior, a man who has been killing men and monsters alike, a warrior who fears no one and nothing. Another iteration of the tale tells of him in his old age, long since "retired" from swinging his sword, and now only swings an axe. He is the mysterious woodcutter living deep in the woods, avoiding people, avoiding his reputation, hiding from his legacy of endless death, a tired man, a sorrow-filled man who only wants peace and hard labour.

This movie tells the tale of Robin Hood, but a long aged Robin (Hugh Jackman, Logan), and not the man of legend. The legend was created by him to mask the brutality and killing he wrought in his youth. He was never truly the hero of myth, stealing from the rich to give to the poor. He was just a brigand, a killer of people so he could take what they had. And his legacy is that he is endlessly pursued by the families of those he has slain, always on the run, no longer a young and unkillable warrior, just an aching, but still powerful man hiding when he can, killing when he has to. 

This movie begins as a grimdark, violent, bloody and gritty tale. They needed to set the story who the real man is. There are no flashbacks, no images of a dashing hero in a green hood, flashing a smile as he steals bags of coins from the moustache twirling Sheriff of Nottingham. There is just the mumbling Little John (Bill Skarsgård, Barbarian) who is fleeing after having been outed from his farm by vengeful foes, a farm that he acquired himself by killing the previous owner. Fuck, this is a dark world -- there is no irony in John's (now calling himself Edward, a name taken from the man he killed) description of what he has done -- he killed a man and set himself as the head of his new "family" and, well, they have accepted him. He comes across Robin on the road, and seeks his help in recovering what is his. Together they kill the vengefuls, but not before all but one of John's Edward's family are killed in front of him. 

One escapes (not really, as Robin puts an arrow through the back of the boy's head, and he stumbles, dying, home, bearing the mark of who did the deed) causing the return of the head of the family, armed and armoured, unlike the usual staff & pitch fork bearing farmers that Robin and John can easily dispatch. And the battle is so brutal, it leaves Robin on the edge of death. John all but carries him to a boat which takes him to an island where a Prioress, Sister Bridgit (Jodie Comer, 28 Years Later) is known to heal all who are brought to her. Edward hands "Roderick" over to her care, who is barely alive, cut and crushed and suffering great blood loss. Their lies are accepted, and Edward departs.

Act Two. Healing. The tonal shift in this act is palpable. Via music (the use of "Twa Corbies" is wonderful) and mood, we observe Roderick heal, but all the while wondering when the tables will turn. This is not an unfamiliar story telling technique, where we wonder whether a violent amoral character will stay true to that course, or will he be swayed by kindness and acceptance. The Prioress has her own past, but its only just touched upon, but other members of the priory tell of it being full of darkness and loss. Meanwhile, a quiet wise leper lives out his last days on the island, bringing Roderick into his confidence, offering his place as the protector of the apple and pear groves. You know the leper knows who Roderick might be, but there is no judgement, no coaxing, just an ask that Robin not bring his violence to the island. 

Roderick's healing is not quick, and the gentle touch does soften him, especially when Edward's daughter appears on the shores -- her "papa" was attacked and she fled to here. She has been abused and traumatized but when she sees Roderick, she grasps him silently. And also, with time and a gentle touch, she softens to him, finding a new father figure. It surprises him as much as the rest of the islanders. BUT we still see the darkness behind his eyes. We wonder if he will end up returning to his ways, kill her for revealing who he is.

I absolutely loved Jackman in this role. And not because he is the living image of the retired Slayer from my mind's eye, but for the reserved manner he approached the role. This was not big acting, but quiet and brooding.  Hell knows, I love a good brood. Comer is, as usual, magnificent. And Skarsgård just disappears into his small role, more than he did behind the makeup of Pennywise. This movie won't be for everyone, as it can be ponderous at times, and does very little to rise from its dark mood, but for me, already steeped deeply in such a mood (not a good time in my life right now), it was pitch perfect.