Hugh Jackman ages well as the title so-called hero who isn’t even close to merry.
We all know the story of Robin Hood and his band of Merry Men robbing from the rich and giving to the poor. He was labeled a folk hero, but Michael Sarnoski’s latest movie “The Death of Robin Hood” depicts him as an aging, mass-murdering outlaw. No Maid Marian, no “Oo-De-Lally,” no Errol Flynn charms. Everything people have heard of about Robin Hood is a myth. This one has robbed and murdered the rich and poor, and yet, through the years, his past comes to haunt him. Think of this like if, in a way, “Unforgiven” took place in Sherwood Forrest, except it was gorgeously filmed in Northern Ireland (with the director’s collaborator Pat Scola doing the cinematography).
Given the circumstances, it took a lot of time for me to process the overall experience, and I think it is one well worth your time. We’ve seen many versions of the folk hero from “The Adventures of Robin Hood” to the Disney animated feature from 1973 to “Robin Hood: Prince of Thieves” to the Russell Crowe movie from 2010. And I’ve had zero interest in seeing the 2018 movie with Taron Egerton and Jamie Foxx. But Sarnoski makes the right choice of changing the rules a bit by showing us a dark version of the 17th century ballad “Robin Hood’s Death.” And that’s what we look for in movies: originality. We don’t always want the same story, so every once in a while, we’re able to get a different angle. And boy, “The Death of Robin Hood” couldn’t be more different.
Hugh Jackman stars as Robin Hood, and the film begins, he murders a beggar and later ends up mortally wounded in a battle. So, Little John, or Edward (Bill Skarsgard in another unrecognizable role) as he has to refer to himself as, takes Robin to an island for the kindly Sister Brigid (Jodie Comer) to tend to his wounds. Since he’s too injured in his recovery to row off the island, he’s stuck here with a leper (Murray Bartlett) advising him to make peace with himself, and Edward’s daughter Margaret (Faith Delaney) hiding from the men after the so-called heroes. I believe the gist of it all is the more men these two have slaughtered, the more of either their offspring or relatives vow revenge on them.
You have to give credit to Jackman as an actor. Not just for his Wolverine persona, but also for the way he adds age and experience to his characters. If you want proof, see him in “Les Miserables,” “Prisoners,” “Bad Education,” and “The Prestige.” And “The Death of Robin Hood” is another piece of evidence. With the right make-up and long grey hair, he couldn’t be more convincing as a folk hero who is seen with many demons. This is his first collaboration with the director, and hopefully, it won’t be the last.
We must also give credit to Comer for proving herself to be a fine actress adapting to many dramatic roles. Think back to “The Last Duel,” “The Bikeriders,” and “28 Years Later,” and she is legit with her tone and emotions. And Bartlett is riveting as the leper who gives Robin some philosophy, and looks haunting with the rags covering what’s left of his face and body. Terrific supporting roles should keep the leading actor at bay, and they speak with the right convictions.
It might be a little difficult to understand at times with Robin’s character study, but the movie makes it clear that this version has his demons and even through his bad choices, he might have a chance at redemption. Or at least keep others from making the same choices as he did. And his scene with an injured young man (Noah Jupe) is poignant and haunting, especially when they’re sitting on a windy beach. Watching “The Death of Robin Hood” is a provocative experience, and “Oo-de-lally, oo-de-lally, golly, what a day” it is to see something like this.