The film that I have already watched is about Robin Hood. It was not only to tell us about the roles of super heroes but it was a story about dispossession and rebellion that manages to cleverly link together most of the seemingly irreconcilable elements of the Hood myth became pro-democratic society consciousness.
The problem was began when the king of England empire, Richard the lionheart, were killed while besieging the French castle.
Among in his army is one Robin Longstride, a common archer who by various flukes too numerous to mention ends up in possession of the dead king's crown as well as the identity of one of Richard's most trusted retainers, Robert of Loxley, also killed. Longstride/Loxley fakes his way back to England, is present at the coronation of Richard's wisely brother John, then heads north to present Loxley's sword to his father, honoring the dead man's last wish. And here's the clever bit: Loxley senior suggests himself the same deception, that Longstride should pass for Loxley, even to the extent of occupying the same bedchamber as Robert's wife, Marian.
The scene is then set for a broad, sweeping, fiendishly complicated narrative, in which Longstride must fend off the annihilation of violent Godfrey (who is both toady to King John and treasonous conspirator against him), deliver a stirring speech promoting a Magna Carta-type charter of liberties, see off an invasion attempt by the king of France, and rescue Marian from near-certain death in the surf.
It isn't till it's all over that you realise that the sheriff of Nottingham is only a footnote, reduced to a couple of buffoonish walk-on lines.
Scott orchestrates the sound and fury with a seemingly effortless: unfussily pulling off a profusion of tremendous action scenes and really quite impressive period backdrops. Only once does the strain show: the invading French turn up on the English coast in a sequence rather obviously lifted from Saving Private Ryan, even down to the carnage in the water.
The problem was began when the king of England empire, Richard the lionheart, were killed while besieging the French castle.
Among in his army is one Robin Longstride, a common archer who by various flukes too numerous to mention ends up in possession of the dead king's crown as well as the identity of one of Richard's most trusted retainers, Robert of Loxley, also killed. Longstride/Loxley fakes his way back to England, is present at the coronation of Richard's wisely brother John, then heads north to present Loxley's sword to his father, honoring the dead man's last wish. And here's the clever bit: Loxley senior suggests himself the same deception, that Longstride should pass for Loxley, even to the extent of occupying the same bedchamber as Robert's wife, Marian.
The scene is then set for a broad, sweeping, fiendishly complicated narrative, in which Longstride must fend off the annihilation of violent Godfrey (who is both toady to King John and treasonous conspirator against him), deliver a stirring speech promoting a Magna Carta-type charter of liberties, see off an invasion attempt by the king of France, and rescue Marian from near-certain death in the surf.
It isn't till it's all over that you realise that the sheriff of Nottingham is only a footnote, reduced to a couple of buffoonish walk-on lines.
Scott orchestrates the sound and fury with a seemingly effortless: unfussily pulling off a profusion of tremendous action scenes and really quite impressive period backdrops. Only once does the strain show: the invading French turn up on the English coast in a sequence rather obviously lifted from Saving Private Ryan, even down to the carnage in the water.
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