The 1938 film with Erroll Flynn, even allowing for the anti-Nazi subtext, is more or less the “official version”, with the noble-born Robin of Locksley cast into the woods with his outlaw band, down with the common people under the greensward, with narrow scrapes involving the Sherriff of Nottingham, the Lady Marian, archery and a ton of swordplay. And the returning King Richard, the deus ex machina that fixes the plot. This is the version parodied so brilliantly in Time Bandits.
And, later, of course, by Mel Brooks:
There’s a “one last job” version, with Sean Connery and Audrey Hepburn as the ageing Robin and Marian. In Prince of Thieves Kevin Costner plays it as class war with a diversity twist, Saxons-plus-Moor against Normans in the mud and rain, if memory serves. I’ve seen a 1950s cross-dressing version (spoiler) where they send for Robin Hood’s son and he turns out to be his daughter.
Ridley Scott’s telling of the story feels like the post-financial crisis version. It was much rewritten over a period of five years. He gave up on the idea I read about online of having Robin of Locksley and the Sherriff of Nottingham be the same person, and ends up more or less writing Locksley out completely. Instead an ordinary soldier (Russell Crowe) picks up Locksley’s sword after he is ambushed by the perfidious French on the way back from the Crusades, returns it to his family, and ends up being asked to impersonate Locksley by his family to help ensure their safety. Locksley and his death become the inciting incident, and the film ends up being the prequel to the myth.
This whole plot device deals quite elegantly with one of the big problems of the Robin Hood story. How do you exactly explain the aristocrat who ends up living in the woods, robbing the rich? ( (This works as myth, but not so much as plot). Screenwriter Brian Helgeland fixes this by turning Robin Hood into Everyman. And fabulously, being the post-crisis version of the story, Everyman Hood ends up inventing both the Charter of the Forest and the Magna Carta as part of the plot. At the start of this sequence he even drops a hint to Shelley as well. This is the moment.
I’m not with those people who say that Russell Crowe’s accent is all over the place. It is, by modern standards. But one of the things we know about the early English is that accents were all over the place. And don’t mess with Cate Blanchett, who plays the Marian role here. I love her as an actor, and the way her character develops through the film is well done. Here she is explaining to Russell how things are, after her father has suggested that they need to share a bedchamber to convince the servants that Robin Longstride really is Robin of Locksley.