We had a couple of weeks away from merry old England, but now we're back to tradition – well, sort of – with the incomparable...
Robin Hood (1973)
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| Lockdown really has brought all the wildlife out |
'Yes, we're going to make our own version of the English folk tale Robin Hood. But animated. And a musical, told through American country music. Sung by a rooster, voiced by folk singer Roger Miller. Oh yes, did we mention, all the characters will be animals, wearing clothes? And some will have strong Southern drawls, while others will speak the Queen's English?'
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| The writers when they came up with the concept for this film |
It's so weird, but the film gets away with it by acknowledging this fact from the outset. The opening credits list out the actors, the roles they are playing, plus what animal they are. This is to get you immersed in the world they have created while giving a cheeky nod to the irreverence we are about to watch. By the time Alan-A-Dale (the Roger Miller rooster) introduces himself and the story, we're perfectly prepared for Robin to be a talking fox. Because why not?
The characterisation of the anthropomorphic animals is genius and really adds to the charm of the film. While Robin is a bushy-tailed fox, I know more that one person who fell for his charismatic personality and had a cartoon-crush on him at one point. Little John may look (and sound) exactly like Baloo from The Jungle Book, but his swaggering wingman persona is endearing.
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| I mean, swoon |
The choice for Prince John to be a lion, while he snivels cowardly in his carriage, is inspired, while his sneaky henchman Sir Hiss, is, of course, a snake. Lady Kluck, a Scottish chicken, is perfect as the robust lady-in-waiting to Maid Marian's sparkly-eyed fox. The Sheriff of Nottingham is the literal wolf at the door, while the Prince's guards are vultures, picking off innocent citizens. It must have been fun to assign the roles.
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| When you spot someone holding hands with somebody who isn't from the same household |
Using animals rather than humans also serves to heighten the comedy, which this film has in abundance. The first act, where Robin and Little John dress in drag as fortune tellers to try and dupe Prince John out of his jewels, is like something from a Monty Python film. When an elaborate fight breaks out at the archery tournament, Lady Kluck pelts down the field while American football music plays, embracing out-and-out parody. In the style of Edgar from The Aristocats, the villain in Robin Hood is more of a comic figure than a real menace, as he's too much of a mummy's boy to be truly feared.
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| Didn't get the 'don't touch your face' memo |
Fuelled by a rollicking score, including both country bangers and an incongruous (yet quite pretty) pop ballad, Robin Hood cements its own unique world, making it one of the most memorable Disney films. Throw in some cute animals (those poor little bunnies are very huggable), and genuine laughs, and the film is an oft-overlooked jewel in Disney's crown. It's fast-paced – even if the ending is a little rushed – and distinctly '70s, in the best way.
Best Song: The whole soundtrack to Robin Hood is a treat, but my current favourite is probably 'The Phony King of England,' which isn't a Roger Miller song, but it's a real ear-worm (Sir Hiss can attest to that).
Disney Detail: There aren't any notable easter eggs in this one, but that dance footage from Aristocats does rear its head again, and many of the voice actors (like Phil Harris) are Disney staples by this point.
Why it's a Classic: It's one of the most charming and funny Disney films from the first half of the canon. The cheeky appropriation of the tried-and-tested story, blending the traditional English folk tale with an American folk sensibility, is a method used again 20+ years later for Hercules (Greek vs. Gospel) and it really does work. The director of Zootropolis also said that the success of the anthropomorphic community created in the film was a big inspiration.
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