The Death of Robin Hood – Film Review
by Brian Merriman

Written and directed by Michael Sarnoski
Starring: Hugh Jackman, Jodie Comer, Bill Skarsgård, Faith Delaney, Noah Jupe and Murray Bartlett
Produced by Aaron Ryder, Andrew Swett, Alexander Black and Hugh Jackman.
Cinematography by Pat Scola
Music by Jim Ghedi

With a surname like mine, I learned of Robin Hood from a very early age! My first introduction was a rerun of the 1950s TV series, starring a pristine Richard Green in seamless tights, which our black-and-white televisions assured us he was dressed in green. There were many other screen and stage versions, including Robin of Sherwood (1984-’86), with its famous musical score by Clannad.

(Robin) Hood, a man of legend, ‘robbed from the rich to give to the poor ’, and that version of the story has been told and retold with music, comedy and drama. Who better than to star in the latest iteration than smiling, song-and-dance man, Hugh Jackman. Wrong and right!

Jackman, a man of many talents, reinvents himself again in this dark, intense, and violent drama. Set in the bleak outdoors in 1247, Hood is ageing, haunted by his murderous past and hunted by the countless kin of those he murdered. The violence is gruesome, and the film classification (16 in Ireland) should be respected for young viewers.

The locations are barren and high, exposed and bleak. Silent Valley, Glenram and Murlough Bay in Northern Ireland are a stunning backdrop that adds greatly to the dark texture of the piece. The Death of Robin Hood has a stellar cast, showing us yet another iteration of the immense talent of Jackman. The make-up and prosthetics alone make you look twice to reassure the viewer that it is Jackman. Charlotte Betts and her extensive make-up and prosthetics supporting crew produce first-class work. Jackman’s intensity and dramatic presence fill the screen throughout the two hours. Ghedi’s folk-inspired score completes the authenticity of the sense of period.

Bill Skarsgård is an impressive Little John. Fierce and driven, his story shows a new layer beyond the expert, staff-wielding loyal lieutenant known in the legend. Vengeance begins this new plot, and Little John is at the centre of a bloody feud with harrowing consequences.

Away from the gore, across the sea, lies the priory of St Clement on a remote island. The priory offers refuge to the survivors, where many known elements of the legend come full circle. Christianity and healing are the heartbeat of this sanctuary, and its impact on the residents is transformative and challenging. Secrets are revealed, the past confronted, and justice prevails. What shape is redemption, if that is what ensues?

Jodie Comer is a striking and spiritual Sister Brigid, the prioress, a healer of renown. She asks no questions and judges no one who seeks her assistance. The priory is an idyllic location, filled with nature, self-sufficiency, and the joy of children. She too is deeply challenged by the arrivals, while her own healing trauma has yet to be fulfilled.

Standout supporting roles include young Margaret and Faith Delaney – a star in the making. Noah Jupe’s vulnerable Godwin and Murray Bartlett’s Leper play pivotal roles in unravelling the past and shaping the future.

If you like Robin Hood, you’ve never encountered him like this, as the feel-good legend shatters. If you like Hugh Jackman, you’ll see him display yet another side to his considerable skill set. It is hard to say you’ll like the violence, vengeance and immorality that lead us to The Death of Robin Hood. But you will remember the legend now in a different and well-argued way. Sarnoski’s screenplay and direction are dramatic and impactful. It is quite a final chapter for a much admired hero, until the next time his story inspires a new telling.