takekurabe ( たけくらべ takekurabe ) ( english titles include : adolescence , growing up twice , growing up , and child 's play ) is a 1955 black-and-white japanese film directed by heinosuke gosho .

it is a film adaptation of higuchi ichiyō 's 1895-1896 novel takekurabe .

production design was made by kazuo kubo , sound recordist was michio okazaki and lighting technician was susumu irie .

takekurabe ( 1955 film )

takekurabe ( 1955 film ) <EOT> it is a film adaptation of higuchi ichiyō ' s 1895 - 1896 novel takekurabe .

) is a 1955 black - and - white japanese film directed by heinosuke gosho .

isuzu yamada - isuzu yamada won blue ribbon awards for best supporting actress in takekurabe in 1956 . [ 3 ]

marit 1 relations , 1955 , directed by shiro t ) yoda . ' hisaya morismge , chikage , asmma . , grotmong 170 , 1955 . directed by fleinostike gosbo . hibari misora , " ' ilk somegoro ichikawa . the beauty and the dmgon , 1955 , directed by kimisaimiro ' iohimura . nobtiko ov ( center ) .

x list of illustrations four seasons of children , 1939 . 30 a full life , 1962 . 153 grass whistle , 1955 . 94 growing up , 1955 . 93 harakiri , 1962 . 154 the harp of burma , 1956 . 143 he and life , 1928 . 24 high and low , 1963 . 204 the hoodlum soldier , 1965 . 2o8 horses , 1941 . 32 the human condition , 1958 - 61 . 147 humanity and paper balloons , 1937 . 29 ikiru , 1952 . 87 the inferno of first love , 1968 . 212 an inn at osaka , 1954 . 91

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donald micie has long been the internationally acclaimed expert on the japanese film . he is a former member of unijapan film and film critic for the japan times , and is presently curator of the film department at the museum of modern art , new york . he designed and presented the kurosawa and ozu retrospectives , as well as the massive 1970 retrospective at the museum , the japanese film . his book on the films of akira kurosawa has been called a " virtual model for future studies in the field . " mr . richie has been a resident of japan for the past twenty - five years . film books by donald richie : the cinematographic view : a study of the film . 1958 . the japanese film : art and industry . 1959 . co - authored with joseph l . anderson . japanese movies . 1961 . the japanese movie : an illustrated history . 1965 . the films of akira kurosawa . 1965 . george stevens : an american romantic . 1970 .

japanese cinema film stye and national character donald ricbie anchor books doubleday & company , inc . , garden city , new york

list of illustrations the abe clan , 1938 . 29 an actor ' s revenge , 1963 . 203 the affair , 1967 . 211 the age of assassins , 1966 . 209 alone on the pacific , 1964 . 205 assassination , 1964 . 207 the assignation , 1960 . 149 an autumn afternoon , 1962 . 154 bad boys , 1960 . 151 the bad sleep well , 1960 . 149 the beauty and the dragon , 1955 . 93

246 kenji mizoguchi appendix sisters of the gion ( gion shimai ) , 1935 , 95 min . utamaro and his five women ( utamaro o meguru gonin no onna ) , 1946 , 95 min . women of the night ( yoru no onnatachi ) , 1l948 , 75 min . the life of oharu ( the life of a woman by saikaku ) ( saikaku ichidai onna ) , 1952 , 148 min . ugetsu ( ugetsu monogatari ) , 1953 , 96 mini . a story from chikamatsu ( chikamatsu monogatari ) , 1954 , 100 min . sans ho the bailiff ( sansho dayu ) , 1954 , . 125 mmn . the princess yang kwei fei ( yokihi ) , 1955 , ca . 120 , mmn . new tales of the taira clan ( shin heike monogatari ) , . 1955 , 120 min . street of shame ( red . . light district ) ( akasen chitai ) , - 1956 , 85 mini . 511 ny ab ny ja nl ab cv nl ab

xii list of illustrations man - slashing , horse - piercing sword , 1930 . 25 a man vanishes , 1967 . 211 the man who left his will on film , 1970 . 214 marital relations , 1955 . 93 the men who tread on the tiger ' s tail , 1945 . 34 mother , 1952 . 88 mud and soldiers , 1939 . 30 muddy waters , 1953 . 90 the neighbors wife and mine , 1931 . 25 night drum , 1958 . 146 no regrets for our youth , 1946 . 83 oban , 1957 - 58 . 146 onibaba , 1963 . 205 operation negligee , 1968 . 212 the origin of sex , 1967 . 211

ix death by hanging , 1968 . 212 dodes ' ka - den , 1970 . 214 double suicide , 1969 . 213 drunken angel , 1948 . 84 early spring , 1956 . 143 earth , 1939 . 29 the end of summer , 1961 . 152 an enemy of the people , 1946 . 34 enfo , 1958 . 147 evil spirits of japan , 1970 . 213 fires on the plain , 1959 . 148 five scouts , 1939 . 30 floating clouds , 1955 . 94 floating weeds , 1959 . 147 flowing , 1956 . 144

xvi list of illustrations ugetsu , 1953 . 89 until the day we meet again , 1950 . 85 utamaro and his five women , 1946 . 83 the war at sea from hawaii to malaya , 1942 . 33 when a woman ascends the stairs , 1960 . 151 where chimneys are seen , 1953 . 89 wife , be like a rose , 1935 . 28 wild geese , 1953 . 9o woman in the dunes , 1964 . 2o6 woman of osaka , 1940 . 31 women of the ginza , 1955 . 143 yearning , 1963 . 204 yojimbo , 1961 . 152

xiv list of illustrations the river fuefuki , 1960 . 150 samurai rebellion , 1967 . 210 sanjuro , 1962 . 154 sanshiro sugata , 1943 . 33 sansho the bailiff , 1954 . 91 the scandalous adventures of buraikan , 1970 . 214 the scent of incense , 1964 . 205 seven samurai , 1954 . 92 she and he , 1963 . 204 she was like a wild chrysanthemum , 1955 . 94 sisters of the gion , 1935 . 28 snow country , 1957 . 145 souls on the road , 1921 . 23 sounds from the mountain , 1954 . 92 south wind , 1942 . 32

94 cte ( i u " ' i ' i v 8 . ' , miko n rus , masayy ~ i meorl : , fliideko ' ? a a a " i se c h r , , , : ~ , , : , y ! act : lsu 1955 : ~ s , di - . . . ssrec ' ie i ' iike ioscta , , noriak arita , sbirls j an " taa , . x x grass whis , sl 19 55 d ; i r ' : etited by shi : ? o ro ( , odta kyo : o aoy ' a , a , akirua kx a

the japanese film , which was among the last to achieve an individual flavor , is now the last to retain this individuality . it continues to show , for all who care to see , the most perfect reflection of a people in the history of world cinema . this profile of japan is easy to catch ; the likeness is unmistakable , yet difficult to define . in the broadest of generalizations , it might be this : if the american film is strongest in action , and if the european is strongest in character , then the japanese film is richest in mood or atmosphere , in presenting characters in their own surroundings . the relationship between man and his surroundings is the continual theme of the japanese film , one which quite accurately reflects the oneness with nature that is both the triumph and the escape of the japanese people .

xxi is seen in many of the themes of the japanese film , but of its technique there are few traces ; in fact , overcoming the influence of the shimpa was one of the japanese film ' s earliest triumphs . even shingeki , the modern theater ( one quite analogous to that of america or europe ) , has offered almost nothing to the japanese film style . in the same way , television - a medium which has had an enormous and not always beneficial influence on the american film - has contributed as yet little to japanese cinematic form . at most one might say ( and it is , admittedly , saying much ) that the influence of japanese drama on japanese film is interior . that is , the kind of mind which created the noh and the kabuki remains the mind which creates the japanese film . one might then think that the films of other countries have been a decisive influence , a common enough occurrence in france or america , countries which have eclectic cinematic traditions . and on one level there is some foreign influence . the japanese " action " picture , particularly the gangster film , is much influenced by the american , as indeed are all the world ' s gang films . yet on the higher level , as represented by the best directors , there is almost none at all . or , perhaps better , there is none visible . in the history of each director there has been some . that we no longer see it in the most experienced directors leads us directly to a basic assumption in the definition of japanese film style : the japanese are unable to handle anything without sooner or later nationalizing it - or , perhaps better put , the peculiar japanese genius is that of assimilation and incorporation . any influence

214 , ' by akira kurosawvva , ~ ~ os i . . . kixata zushi , mi iasakdaro sbinoda . tatsuyai ~ n ~ akaai , shimaui n ' wa - . . shita on film , 1970 , directed by

244 appendix harakiri ( seppuku ) , 1962 , 135 mmn . kwaidan ( kaidan ) , 1965 , il6o mim . sh wr kazuo kuroki akira kurosawa silence has no wings ( tobenai chimoku ) , 1l967 , iog min . the men who tread on the tiger ' s tail ( tora no 0 o fumu otokotachi ) , - 1945 , 6o min . drunken angel ( yoidore tenshi ) , 1948 , 1 - 02 mi . stray dog ( nora inu ) , 1 . 949 , 122 mi . scandal ( shubun ) , 1 . 950 , 10 5 minl . rashomon , 1950 , 84 minl . the idiot ( hakuchi ) , . 1951 , the i66 min . version . ikiru , 1952 , 140 mmn . seven samurai ( shichinin no samurai ) , 1 - 954 , 141 . min . version . i live in fear ( record of a living being ) ( ikimono no kiroku ) , 1955 , 1l05 min . un ab ab ab sii ja ny ab ab ab

appendix japanese films circulated in 16 mm in the united states guide to abbreviations : ab audio film center and brandon films , inc . , affiliated with crowell , collier and macmillan , inc . , 34 macquesten parkway , south , mount vernon , n . y . 10550 ca cavalcade pictures , inc . , 959 north fairfax avenue , hollywood , calif . 90046 co contemporary films , affiliated with mcgraw - hill , inc . , 330 west 42 street , new york , n . y . 10036 cv cinema ventures , 133 west 14 street , new york , n . y . 1oo12 fi film images , a division of radim films , inc . , 17 west 60 street , new york , n . y . 10023 gr grove press , inc . , film division , 53 east 11 street , new york , n . y . 10003

140 japanese cinema as such , seem to demand . the form , rather , is organic ; it is that demanded by the characters rather than the plot . open - ended sequences , visual non - sequiturs , and lapses of continuity , all carefully judged , create the air of believability so characteristic of this film . though far different from such early films about children as those of ozu and shimizu , it joins them through its honest realism and its bitter perception . equally perceptive were ceremony ( gisaku , 1971 ) , and , in particular , the man who left his will on film ( tokyo senso sengo hiwa , 1970 ) , an elaborately selfreferential film about a student making a movie . he kills himself at the end of the picture , and the film he was making becomes the film we have been seeing . using a completely amateur cast , oshima succeeded brilliantly in creating a visual counterpart for the world which an acutely sensitive youth must feel and fear . in these later and mature films the excesses of youth , its revolts , its retreats , are captured with a compassion quite missing from the earlier work . at the same time , however , one must add that the individuality of oshima , of kobayashi , and of masumura is a bit like that of imai , and is different from that , say , of ozu or kurosawa , in that stylistic unity is imposed not by the director but by the subject matter he chooses . another example would be yasuke chiba , whose personal style was based entirely in the shomin - geki genre seen in the films of shimazu , of ozu , or gosho . downtown ( shitamachi , 1957 ) was an excellent short film about a poor working woman - beautifully played by isuzu ya

1896 - 1945 41 use for chronology and so dispensed with it . rather , we see one image ( the sister in her room concerned for her brother ' s safety ) cut directly into another ( his sister much younger , during their childhood ) , the link being neither logical nor causal but emotional . later , the linkage becomes even more subjective . pain becomes a visible hallucination when the water he is drinking turns to steam ; the cat , attracted by his open , bloody wounds , becomes something evil , a black , creeping form . again and again in this film the cut is determined not by its slight plot , not by the several convolutions of the story line , but because one scene suggests another or because one object suggests another : the round shape of a hat , the round shape of a teacup - an early example of what eisenstein called analytical montage . the construction is largely made of such parallels and it is just in such a manner that many japanese pictures are made , from the understated parallels of an ozu picture to the hidden parallels in a kurosawa film . it is also indicative of japanese film that though this picture was a period film - it was set late in the eighteenth century - kinugasa treated it as though it were contemporary . that is , he put his audience into the mind of a living person , the hero of the picture . this is so rare in western historical pictures that those who do so - dreyer in the passion of joan of arc , for example , completed a year before this film - are considered exceptional . in japan this is not the only method of making a period film , but it is certainly a common one . one of the reasons is that japan is a young moder

1896 - 1945 5 the first japanese pictures , however , contained not only 1904 street scenes and geisha dances but also the most celebrated stage actors of the day in action on the stage . in the west , the stage was still refusing to be compromised by the low - class novelty but in japan the stage interested itself in the movies to the extent that at least several dramatic troupes commissioned early cameramen to film portions of their plays so that these could serve as advertisements at those theaters specializing in motion pictures . somewhat later the situation was to be reversed . in america the movies became socially acceptable only by the innovation of filmed theater with its " famous players " ; in france by the stagy film dart . in japan the actors were to show less enthusiasm , realizing that movies are the natural enemy of the stage , and fearing that if they appeared in film no one would come to see them in the flesh . initially , however , the west was given time to develop at least the rudiments of film grammar and vocabulary before the stage took over ; in japan the influence of stage upon screen was from the first complete . since no two art forms are further apart , the effect upon the infant japanese cinema could have been disastrous . the first japanese films , as stagy as any film dart , were burdened with all the accouterments of the japanese stage . the continual front - center shot and the idea that actors must be seen full - length were limitations shared with other countries , but in japan alone was there an

6 japanese cinema insistence upon female impersonators and , the major obstacle to cinematic technique , the benshi . the benshi was a narrator - commentator - explainer who accompanied most film showings until well into the era of sound , narrating a story which was at least occasionally of his own construction , commenting upon the apparent , and explaining the obvious . his popularity was extreme and was based upon that very quality which had made films so instantly popular : japanese enthusiasm for selfimprovement . then as now the japanese were unfailingly curious and , at the same time , unfailingly disturbed lest they not understand everything . this audience created the benshi , gave him his enormous prestige , and paid him his not inconsiderable rewards . although the benshi was not unique - america had its lantern - slide and travel - film commentators ; france , its movie compare - he long outstayed his welcome and prevented the japanese film from early attaining that reliance upon purely pictorial means which is the true strength of the motion picture . but he effectively filled a basic need , the need for complete instruction . his effect upon the japanese film is almost impossible to overestimate , and certain aspects of even the latest movies can be traced back to the benshi and to the need which he satisfied . though japanese films can be the most subtle in the world , the most understated , the most evocative , a commentator will frequently reiterate a point already presented visually . a scene will often appear , unnecessary in the context of the film , which explains what went before . those japanese critics who called rashomon

1946 - 1971 233 manism , his dostoevsky - like compassion , remains his final and his strongest statement . in seven samurai , however , compassion is not sentimentality . it has been tempered with action ; theory has become practice . violent physical action , things done , things accomplished , things completed , things irrevocable : these are what this film is made of . the end result of all this action ( and there has rarely been so violent an " action film " as seven samurai ) is the distillation of a single bittersweet and almost unpalatable truth , but one the emotional acceptance of which is impossible to avoid . the story is simple . a small village , completely defenseless , is harassed by bandits . they ask the aid of a group of masterless samurai , men as homeless , as outside society as the robbers they are asked to fight . they agree , and the body of the film shows their defense , during which a number of them die . the villagers are grateful , but it is spring planting season . they are busy , they have things to do . the remaining samurai leave the town they have defended , the only home they know . they stop in front of the grave of those they left behind , then they move on . the film is an impassioned call for cooperation among men and , at the same time , suggests why this has always been and will always be impossible . like la grande illusion - which it resembles in no other way - seven samurai demonstrates the essential sympathy binding men together , and shows how war perverts it . but , more , the kurosawa film goes on to demonstrate that peace too

1946 - 1971 197 believe . if they lack anything , it is immediacy ; just as the films of imai and kobayashi , oshima and masumura , lack that interest in character delineation , in the intricate interplay of character with environment , which is so much of film style , since this is just what is sacrificed through exclusive interest in social issues . these two qualities - an interest in film aesthetics as a medium of emotional communication and an equal interest in social issues which are larger than the single man - are reconciled in the work of akira kurosawa , a film director whom the last twenty - five years has revealed as so thoroughly whole and in that sense so completely great that one can compare him only to yasujiro ozuhis utter opposite , the director most antithetical , and yet one with whom , oddly , he shares more than any other . like ozu , he is a master stylist . he adds to a given theme , or plot , or incident , all of the circumstances calculated to produce the entire effect that the theme or the plot or the incident ought to produce . he creates an entire world , along with all the laws which govern it . he shows character by presenting what motivates that character . and he suggests the environment , the context , of every action . one of the effects of this is that kurosawa ' s world is a private one , one that is uniquely his own . one minute of an ozu or a kurosawa film is enough to let you know whose it is . at the same time the work of kurosawa represents a departure from the tradition of the japanese film . he has always refused to make the expected kind of picture . he has consistently confused critics and , sometimes , au

i80 japanese cinema complications whether he truly understands them or not . the reason is that shinoda is not interested in the intricacies of history . they are useful only in establishing various kinds of action necessary for the disclosure of his main concern . this is the shapes or patterns of men ' s lives . and this interest accounts both for his cursory treatment of history and for the structure of the film itself . in the first reel we believe we are being introduced to the heroes and that they are talking about the villains . by the time the second reel is over , however , we have heard enough to know that the first men might be villains and that the " villains " may well be heroic . as the film progresses , we are led to question the ethical motives of everyone in the film . the screenplay , which shinoda helped write , as he does for all his films , uses the methods of orson welles ' s citizen kane or , perhaps better , francesco rosi ' s salvatore giuliano . the film loops back again and again into the main character ' s life , never solving any of the problems , nor resolving any of the differences . as a consequence , the character ( played by tetsuro tamba ) becomes more and more alive throughout the course of the film . in this sense , a very complicated plot becomes simple as the director makes one live through it . shinoda ' s shogunate japan - seen here in double suicide , in sarutobi , in buraikan , and in silence - is a world in itself . again one thinks of mizoguchi , because there has been no other director since him who could create the feeling of historical locale as well . in assassination shinoda creates a real world ( much of which is shot

1946 - 1971 227 corner of the picture frame ; and all of this incessant and meaningless motion confuses and fatigues the eye . ikiru presents the same disordered environment , but intensifies it . the film is long and varied ; it winds and unwinds ; it shifts from mood to mood , from present to past , from silence to a deafening roar - all in the most unabashed and absorbing fashion . one can compare it only to citizen kane , a film japan did not see until its 1961 television showings , in which , for much the same reason , the resources of the camera are strained to the limit : the marvelous " night town " sequences in which camera motion is consummately used to suggest the teeming city ; the scenes in the office , so hushed and underplayed that they all but shout for attention ; the final funeral sequence ( the last third of the film ) where the life of the dead official is reviewed over and over again , each repetition getting a bit nearer the truth . in all of kurosawa ' s best films the style fits the story so closely that the resulting emotional experience is literally unforgettable . this is seen even in his debut film , sanshiro sugata , and in its 1945 sequel , where the judo story was reflected in athletic cutting , and in the bounce and pace of the tempo . it is seen fully matured in two of the director ' s very finest pictures : rashomon and seven samurai . the former is extremely well known , probably the most famous japanese film ever made . its theme , like that of ikiru , is basically existential : a man is what he does , not what he intends nor what he believes ; truth is just as relative as anything else and reality is a matter of in

1946 - 1971 79 analysis is followed without comment by a master stroke : the very next scene , late at night , finds her drunk , coming into his room and flinging herself at him . in their separate ways both the geisha and the young heroine of wild geese overcome tradition and toyoda ' s occasional animosity toward the traditionally japanese is , unlike that of naruse , only rarely stated . one of his fullest statements , however , is found in one of his finest films : grass whistle ( mugibue , 1955 ) . it is the story of three adolescents , the girl still a child , the boys just growing into that long and difficult period which is prelude to manhood . they are good children , if a bit wild , and - like all children - they manage to live entirely outside the traditional society represented by their parents . but they are not immune to it . their tragedy is not merely the coming of adulthood and the consequent loss of the candor of childhood , more specifically it is their subscribing to attitudes and beliefs , properly traditional in themselves , which have no relevance to their own problems . one of the boys dies . his friend had loved him , and the girl had loved him ; and , in the honest manner of children , both boy and girl also love each other . in the final sequence of the film they go to the grave of their friend and the boy attempts to tell her what he feels . already old enough to distrust her emotions , she almost hysterically subscribes to whatever ideas of morality she has already absorbed from the grown - ups . it becomes evil to think of herself in the presence of the dead - rather , she must remain faithful to a memory which is already

drama japanese cinema film style and national character donald richie it is common knowledge that japan has produced one of the most extraordinary national cinemas in the history of film . this book , written by the internationally - recognized expert on the subject , makes japanese movies accessible to western audiences as never before . it is , first of all , a succinct history of japanese film , from the beginning through 1970 . it is also , however , an exploration of japanese culture - and the japanese mind . the author relates the films to the other art forms , and the traditions and attitudes of the japanese people . he is thus able to refute the occasional western objections that japanese movies are sentimental , or boring , or full of cliches . the book discusses not only the well - known classics of such directors as kurosawa and mizoguchi , but also the popular " entertainment " films as well . it establishes the historical basis for the important post - war films that first brought japanese cinema to the attention of the world . above all , this book explores the unique vision of the japanese film - makers , the vision " which is the aesthetic of japan - and which has created some of the most beautiful and truthful films ever made . " this volume is complete with numerous stills from the films , an appendix with information about 16 mm . distribution in the united states , and an index . cover design by sydney butchkes cover photograph , double suicide , courtesy of toho motion picture company , ltd . , tokyo a doubleday anchor original isbn : 0 - 385 - 09441 - 8

48 japanese cinema in any event there was , in japan , an early public acceptance of the realistic historical film , an agreement from the man in the balcony that his problems were much like those of the samurai on the screen . consequently , japanese directors retained a freedom to make pertinent , living historical films , something which was often denied like - minded directors - and dreyer is the most obvious example - in the west . not that the japanese do not make historical distinctions . indeed , in common use , the distinctions are indelible . the period film is always thought of as an isolated genre and it is indicative of japan ' s attitude toward itself that it should make such a rigid division between the jidai - geki , the period drama , and the gendai - geki , the film about contemporary life . yet this dichotomy exists only because of the traditional japanese fondness for , and dependence upon , intellectual categorization . the continuum of history flows serenely over all barriers and the japanese , in life as in films , quite accepts a living past . he no more questions this than he questions that , after a hard day ' s work , he comes home , takes off his business suit and gets comfortable in a kimono . this , naturally , implies a double standard . there is no more truly logical connection between kimono and business suit than there is between the eighteenth and twentieth centuries . the japanese is necessarily of two minds - mutually incompatible to western eyes - about his world . this pattern is reflected over and over in the japanese film . it becomes a theme of the greatest importance to

232 japanese cinema samurai ( shichinin no samurai , 1954 ) - originally shown abroad , before the american remake ( 1961 ) , as the magnificent seven - kurosawa ' s best film and one which , were it necessary to make the choice , i should call the finest japanese film ever made . in a way , it is the summation of everything which is most japanese about the japanese film . it is concerned with the present , though its story is laid in the past . it criticizes contemporary values but insists that they are , after all , human values . it faithfully and honestly creates the context of japanese life , man and his surroundings . at the same time it is concerned with timeless values and universal attitudes . it uses a controlled realism as vehicle and presents a surface of superlative physical beauty which serves to accentuate the beauty beneath . in many ways seven samurai is both the opposite and the continuation of rashomon . the earlier film represents the limitations of the intellect : four stories , each completely intellectualized , all mutually incompatible , and all , in their way , " true . " seven samurai on the other hand steps beyond intellectualization . it says that only those acts which spring from emotion are valid acts ; that action thus motivated is itself truth . this truth is one which remains , though universally applicable , particularly japanese . it is one which is shared with zen and with the haiku , as well as the films of ozu and kurosawa - the emotions comprehend where the intellect falters . the basic dichotomy is one recognized and insisted upon in japan just as much as in the west , and kurosawa ' s hu

1946 - 1971 99 ( fuefukigawa , 1960 ) - kinoshita ' s last important picture before his retiring into television - a chronicle film about five generations in the lives of a poor farming family during the sixteenth century . again , the film had a rich theatricality about it , emphasized by a use of color which purposely imitated the very early forms of japanese woodblock prints . in addition kinoshita , particularly in the battle scenes , used still photographs which both halted and held the action . though this technique might be described as an innovation , one should also notice its extreme similarity to the kami - shibai , the old paper - slide theater which the boys and girls of japan still love . the theme of the film would appear antitraditional . the final scene , the true climax of this beautifully made and often compelling film , shows the last remaining member of the family picking up the banner of the ruling family , for which he and his ancestors have traditionally fought , as it floats by on the river , then , with a superb gesture of rejection , throwing it back into the river . what has also become apparent , however , is that kinoshita is only rejecting the worst . the rest of traditional life he keeps and approves . perhaps no more war for tyrannical ruling families but , at the same time , when every new son rides off into the world we are made to feel that mother and father are somehow slighted and that , after all , the family is the most important thing . the attitude of a director such as imai would be , perhaps , that mother is wrong , that it is more important for a young son to realize himself . with this interpretation one

224 japanese cinema desire is both timeless and international in its appeal and it is this quality which kurosawa both preserved and amplified . kurosawa saw in the picture a continuation of a major theme : " i keep saying the same thing in different ways : if i look at the pictures i ' ve made , i think they say , ' why is it that human beings aren ' t happy ? ' both ikiru and record of a living being are such pictures - the throne of blood on the other hand shows why they must be unhappy . " the reasons are the most elemental rules of the human comedy - kurosawa and shakespeare both agree on just what they are . so , in this film kurosawa continued his thesis that power invariably corrupts . since the story was a legend and the theme timeless , however , he discarded the extreme realism of other historical films , and created a film style which so completely suited the plot that form and content became visually one . using only a handful of components - drifting fog and smoke , rainy forests , the shining surface of armor , the sheen of natural wood , the translucence of cloudy skies , the dead white of human skin - kurosawa , with his cameraman , azakazu nakai , created a film with a definite texture . it was as though you could feel it with the hand . more , it was a nearly perfect fusion of film and sound - and one studded with examples of the director ' s talent . just a few were : a marvelous scene - not in shakespeare - where hundreds of birds , disturbed by the destruction of their forest , fly into the banquet hall and circle around the distraught hero ; the sequence where

1946 - 1971 103 highest attainment a woman can reach is not in becoming a wife , as in , say , an american film , but in becoming a mother . that this rather monstrous mother as seen in japanese films does not often exist in real life means little . she exists on film and is there because audiences have willed her there . the most notable haha is yuko mochizuki , a fine actress who now finds herself mother most of the time . she - and this particular type of mother role - is seen at her best in such atypical films as kinoshita ' s a japanese tragedy and imai ' s rice ( kome , 1957 ) . in both films she commits suicide , the common lot of japanese film mothers . though mother still reigns , a contender has appeared in the tsuma - mono , or wife picture . this is a postwar development and reflects a very real change of japanese attitude . of course wives were featured in prewar films but seldom did these pictures focus on them as individuals unless they also happened to be mothers . in such cases the fact that mother is also a wife was irrelevant . to speak of a mother in a haha - mono is to speak of a person who occupies a definite place in the family . in the tsuma - mono , on the other hand , it is a concern for the wife as an individual which animates the film . her problems are personally hers and though she may represent young or old wives everywhere , the emphasis is upon her as an individual . not that her problems in japanese films are too varied . usually this motion - picture wife is concerned with her attempt to defend or discover her own individuality . very

102 japanese cinema structure . another favorite complication is that father is more childish than any of the children . the tragic father is always tragic because he is no longer a father and the films of ozu are , even on this popular level , the perfect example . mother , on the other hand , is almost always sympathetic . she is also so prevalent that an entire genre , the haha - mono , or mother film , has been created just for her . in the usual haha - mono there is no escape for mother . she must sacrifice and suffer . it is all a part of her life . if she has any happiness , it is only in the hope that her husband may reform . there is very slight chance of this , however ; it is not even socially desirable in a totally male - oriented society . then there are also problems with the children , who often turn out ungrateful for mother ' s loving care . in a foreign film , when a child runs away , the mother often feels that she has some connection with her child ' s departure and that perhaps he will be happier away from home . it seldom occurs to the japanese mother in the ordinary haha - mono , however , that her child ' s happiness is at stake . she feels totally betrayed and the only remedy is a complete reconciliation in which all the old relationships are restored . thus , the foreign film mother finds happiness through adjustment ; the japanese entertainment film mother almost never realizes that any adjustment , other than her child ' s , is required . mother ' s attitude may be unreasonable but , as has been pointed out many times before , she has a vested interest to protect . in japanese films the

1946 - 1971 229 incited them into the duel which killed her husband . all stories are equally plausible , all are probably true - this is what the original script intended to convey , and here it ended . it was kurosawa himself who added the epilogue . he has said that the film was otherwise too short and so it probably was . at the same time , however , the addition is so typical of the director that one cannot well imagine the film without it . after the various stories the cry of an infant is heard . the three find an abandoned baby and the servant steals some of its clothing just as the woodcutter had stolen , we find , the woman ' s dagger . the priest remonstrates , thinking the woodcutter intends to strip the infant , but he merely picks it up , saying that though he has six others at home , one more will not matter . the priest , moved , says : " you have , i think , restored my faith in humanity . " this addition is completely typical of the director . it is compassion which , in a way , rights all wrongs ; amid a chaos of relative values it is the only absolute . it is also typical of kurosawa that he should have chosen for the film the particular style that he did . of it , he says : " i wanted to return to the simple pictorial values of the silent picture - it is an attempt to bring back the lost beauty of the film . " certainly , so far as pictorial beauty goes , this is a ravishing motion picture . even mizoguchi rarely equaled the beauty of the opening scenes , with lord and wife wandering through the forest . the shots of sunlight filtering through foliage may have been inspired by similar scenes in the films of

58 japanese cinema verted . realism might be used for propagandistic purposes but , at the same time , it remained the principal ingredient of the national film style . the concern for environment , for atmosphere , so much a part of japanese cinema , though heavily criticized during the war for its " lack of optimism , " remained a part of the film just as it has for centuries remained a part of the character . though an unbiased view was directly opposed to the aims of the militarists , the japanese ability to see the present in the past was by this time so strongly a part of japanese motion picture style that even the most jingoistic of wartime period films were elevated by it . all of these qualities managed to exist throughout the war and , in the years following , as though after a period of incubation , flowered in so luxurious a manner that foreign critics called it a cinematic renaissance . it was not that . rather , it was the logical outcome of what had gone before . the golden age of the japanese cinema had come .

1896 - 1945 13 raquin , ernst lubitsch , erich von stroheim , and g . w . pabst , attempted to create entire worlds , with details so telling that the feeling of actuality became almost palpable . these directors presented characters along with the forces which motived them . their eye for action was so acute that the result was psychological revelation . the early films which helped form japanese film style had an intimacy and a concern for detail which made them unusual . murata and mizoguchi were not merely telling stories . rather , they were creating a world which faithfully reflected and sometimes illuminated the reality of japanese life . murata called his style " symbolic photographicism , " by which he meant a kind of realism in which all the characters were lifelike but whose actions and personalities had symbolic and occasionally , as in souls on the road , almost allegorical meanings . mizoguchi ' s aims were the same though his methods were different . always interested in pictorial beauty , having studied to be a painter , he excelled in the creation of atmosphere , that almost palpable feeling of reality which is the special quality of the well - made film . just as murata wanted his characters to be real but also larger than life , so mizoguchi , and those many more traditionally minded directors who followed him , wanted a world that was more realistic than life . the creation of such a place is naturally one of the privileges of any film director . we approach the films of von stroheim , of lubitsch , of josef von sternberg , of max ophuls , for example , as creations of the directors ' own worlds , which obey their own inner laws and which

98 japanese cinema sorrows that they are , at the end of the film , able to remember . in a picture as late as the scent of incense ( koge , 1964 ) , a three - hour chronicle film , we see that traditional japan - reactionary and insular - has a way of warping lives , but that this is somehow beautiful because it enables people to live nobly if ( or because ) unhappily . even more explicit was the ballad of narayama ( narayamabushi - ko , 1958 ) , about a small community in the northern mountains whose custom it was to expose the aged to the elements so that there would be more food for the young . the barbarity of the custom , one absolutely unauthenticated it should be added , did not move kinoshita ( indeed , he made very decorative use of it ) nearly so much as did the spectacle of the son who , the perfect japanese chonan , weeping and struggling , was forced to deposit his mother on top of narayama . tradition , in this case , naturally , did not consist of the fictitious abandoning of the aged , but rather the traditional respect with which youngsters regard their elders in japan , a tradition all the more conspicuous because of its ostensible absence from this film . technically the ballad of narayama reflected kinoshita ' s later preoccupation with the traditional . though using both color and widescreen , the director relied heavily on stage effects - even choosing to frame the story in devices taken from the kabuki , that most traditional of japanese theatrical forms . at times this thoroughly conservative motion picture even appeared to be filmed theater . the same was somewhat true of the river fuefuki

236 japanese cinema nique ( including extensive use of telephoto lenses for intimacy , shooting even the most violent of sword fights in this manner ) to content , with superb results . the story , which concerns rival gangs in a small town at the end of the edo period , is composed of the very stuff of the ordinary period film . toshiro mifune is the masterless samurai , amused and contemptuous , who sets everything right . but kurosawa , like yamanaka before him , infused this common material with new life , returning to even the most notorious cliches their original value . cliches , film or otherwise , are clich6s only because they happen to be true , and in yojimbo kurosawa ' s validating of material which the common japanese cinema had deprived of all life was particularly striking . to take but one example : one of the staple cliches of the period film is a falling fighter ' s crying oka ( from okaasan , meaning mother ) as he dies . nowadays it is used in a most perfunctory manner , and kurosawa , seeing it as a challenge , deliberately revitalized it . first in a short scene with a mother and her small son , where it was used with all of the human emotion it retains in ordinary japanese speech ; next in a very funny scene where a weak young man , released by the rival gang , rushes to his mother , and barely gets it out of his mouth before she viciously slaps him ; and finally in a fighting scene where a dying gang member gives back to it all the horror and despair and longing for life which rightfully belongs to it . the very fact that the material is so ordinary makes

12 japanese cinema japanese audiences just how enlightening and entertaining motion pictures could be . intolerance had been seen in 1919 but it was only after the earthquake , and the resultant shortage of japanese films , that foreign pictures were imported in any number . within a year such important films as the marriage circle , the covered wagon , and the birth of a nation had all been seen . the audiences now took much more readily to the experiments of kaeriyama , osanai , murata , and mizoguchi , which had helped form the basis of common japanese cinematic style . like all true cinematic styles it was based upon realism , upon the fact that the camera cannot help but reflect reality , the style consisting in part of realizing and utilizing rather than attempting to disguise this fact . a film like souls on the road is just as realistic as , say , henry king ' s torable david , made in the same year , and is much more realistic than such stagy 1921 spectacles as fritz lang ' s destiny or d . w . griffith ' s atypical orphans of the storm . realism , however , though it must be the basis of the style , is seldom more than that . the apparently actual must be made meaningful by both a selection and an interpretation . the way in which this has been done constitutes the aesthetic history of the film . some directors , like griffith or sergei eisenstein , created the feeling of reality through cutting , through the structure , or the form of the film they were creating . others , like e . a . dupont and dziga vertov , called attention to the camera itself . still others , such as charles chaplin in a woman of paris , jacques feyder in therese

1946 - 1971 71 dying , and that he regarded this as a tragedy . it is typical of ozu ' s world that in it only the very young and the very inexperienced ever attempt to escape from the limitations of this traditional world . ozu ' s successes are his fathers and the mothers in such films as floating weeds and late autumn , and their success lies precisely in their accepting these limitations as their own . as in that line from robert frost , they " find salvation in surrender . " the traditional japanese view is limiting , for better or for worse . and the majority of japanese film directors treating these values - and almost every japanese director has , they are such a part of japanese life - are agreed that the limitation is for the worse , though the dismissal is not always as abrupt as that of a kurosawa or an imai . both mikio naruse and shiro toyoda reflect traditional problems but are not content , as is ozu , to reflect . they seem to imply that it is good that tradition dies or , at least , they show it as something from which their characters attempt to escape and cannot . naruse has said : " my films deal exclusively with the home . so do most japanese films . it is in this fact that we find a major fault of japanese pictures - the home is simply too narrow a place in which to set everything . . . only if japanese films can succeed in breaking beyond the limits of the family will they have truly universal meaning . " thus , in a naruse film , the family is usually held together by bonds so strong that no single member can break them . and , unlike in an ozu film , they all want


the last of robin hood is a 2013 american independent biographical drama film about actor errol flynn which is directed and written by richard glatzer and wash west .

the film stars kevin kline , dakota fanning , susan sarandon , matthew kane and max casella .

it was screened in the special presentation section at the 2013 toronto international film festival .

the last of robin hood

the last of robin hood <EOT> dakota fanning has been added to the cast of the last of robin hood . . .

kevin kline , who will portray errol flynn in “the last of robin hood . ”

‘the last of robin hood’ , starring kevin kline , susan sarandon , & dakota . . .

kevin kline in “the last of robin hood , ” a film about the final years of errol flynn’s life .

[ … ] the last of robin hood is filming at 1510 west wesley rd , atlanta . [ … ]

top : cast members of hood : the robin hood musical adventure , photo by karen almond .

dakota fanning and kevin kline in " the last of robin hood . " photo credit : quantrell colbert / samuel goldwyn films

“the last of robin hood” is rated r ( under 17 requires accompanying parent or adult guardian ) for some sexuality and language .

ricky marton , founder of be robin hood , shows off a bit of the merchandise .

watch the first trailer for the last of robin hood , starring kevin kline as errol flynn in a may - december romance with dakota fanning .

the name " robin the boy wonder " and the medieval look of the original costume were inspired by the errol flynn movie the adventures of robin hood . [ 2 ] later re - tellings of robin ' s origin have instead often said the name comes from the robin bird , not robin hood .

a title as good as " the last of robin hood " deserves a better movie . in fact , it deserves a good movie .

“sons of anarchy” thesp patrick st . esprit has joined errol flynn biopic “the last of robin hood ” alongside kevin kline , dakota fanning and susan sarandon .

the last robin hood : origins set in dubrovnik is being dismantled . filming of the leonardo dicaprio version of robin hood finished in dubrovnik on the 6th of march and moved onto istria in northwest croatia for three days before continuing filming in hungary .

kevin kline plays an aging errol flynn in richard glatzer and wash westmoreland’s ‘the last of robin hood‘ . the movie centers on the screen icon’s affair with an underage aspiring…

, the true story of beverly aadland , a teen starlet who became the last girlfriend of the legendary errol flynn .

the last of robin hood , a new movie starring kevin kline , susan sarandon , and dakota fanning , begins filming in atlanta , ga next week .

dark and depressing , this adventure lacks all of the excitement and joy of many of robin hood ' s previous adventures .

" the last of robin hood " is the latest film starring the dashing kevin kline . it ' s also the latest of kline ' s period pictures that wastes no time in dashing your expectations .

the story of robin hood has been told numerous times in film . most recently , russell crowe played the character for 2010 ' s ridley scott - directed robin hood . kevin costner also played the character , for 1991 ' s robin hood : prince of thieves .

ricky marton , founder of be robin hood , shows off a bit of the merchandise . ( courtesy of berobinhood . com )

the last set to be taken down was in the old port area of the city , and in fact this was the last set to be used for filming with a dramatic fire scene filmed . robin hood has now officially left dubrovnik and we await the première on the 23rd of march 2018 .

robin hood opens the cannes film festival tomorrow and goes on release in the uk tomorrow .

dakota fanning and kevin kline in " the last of robin hood . " photo credit : quantrell colbert / samuel goldwyn films ( quantrell d . colbert / samuel goldwyn )

[ a brief history of robin as a character , knight has published extensively on robin hood , including the teams edition and a number of other books and articles . this book looks at the development of robin in four general stages : “bold robin hood , ” which focuses on the medieval tradition ; “robert , earl of huntington , ” about early modern tales ; “robin hood , esquire , ” which discusses the nineteenth century tradition ; and “robin hood of hollywood , ” which treats the twentieth century . ]

last month the beach was used as a location for the final film in the harry potter series .

in the new comedy trailer for the last of robin hood , watch old school hollywood meet young talent between kline and fanning . susan sarandon also stars as beverly’s mother , florence aaland .

image from ' robin hood : prince of thieves , ' courtesy of warner bros . / time warner inc .

[ in the early 1960’s , maurice keen and j . c . holt invigorated robin hood studies by debating positions on the robin hood legend in a series of articles published in past and present . this book is , in part , the result of keen’s research . the outlaws of medieval legend includes four chapters specifically on robin hood , including “the historical background of the robin hood legends , ” where keen discusses the historical events that might have led to the creation of the outlaw , and “the historicity of robin hood , ” where he suggests that any historical figure that may have inspired robin hood is too distant from the sources we now have to be of any real use in illuminating the tales . ]

dumas , alexandre . robin des bois : le prince des voleurs . paris : éditions j’ai lu , 1996 . [ robin hood ( lit . , robin of the woods ) : prince of thieves ]

blamire , larry . robin hood . boston : baker’s plays , 1991 . dobson , mary lynn . the somewhat true tale of robin hood . woodstock , il : dramatic publishing , 2000 .

[ a character created in 1941 , during the golden age of superheroes , green arrow’s costume and theme are clearly based on robin hood , especially the 1938 film the adventures of robin hood . the stories herein were originally published from 1958–59 . ]

[ includes a translation of “the gest of robin hood” by ohlgren . this text presents robin in the context of other medieval outlaws , such as fulk fitz waryn , hereward the wake , and william wallace . ]

thursday , feb . 7 : filming locations in nyc , l . a . , atlanta , baltimore , & more including veep , last of robin hood , the mentalist , smash , & revolution

big indie pictures in association with killer films is going into production next week on the true story feature film “the last of robin hood” . filming is taking place in atlanta , ga through march , 2013 .

pollard , a . j . imagining robin hood . london : routledge , 2004 .

the robin hood film is being made by universal pictures and is directed by sir ridley scott .

so did production of the movie . mr . glatzer , over the last several years , has developed a neurological disorder depriving him of speech .

abbott , frank . the tales of robin hood . n . p . : arrowdam , 1991 . [ cassette ]

the new robin hood movie , robin hood : origins , started production this week in the croatian city of dubrovnik . local news outlet the dubrovnik times has posted a gallery of images from the first day of filming , which was on february 20 , showing off star taron egeron in costume as robin hood . the images also spotlight eve hewson as maid marion ; one of the images shows them kissing .

in " the last of robin hood " he plays the roguish hollywood legend errol flynn , who had an affair during the final two years of his life ( flynn died in 1959 at age 50 ) with a would - be starlet , beverly aadland . she was 15 when they met . her prototypical fame - mongering stage mother , florence , wrote a tell - all book in 1961 that served as the basis for " the last of robin hood . "

written and directed by richard glatzer and wash westmoreland , “the last of robin hood” centers on the actor’s scandalous last romance with beverly aadland ( a miscast dakota fanning ) , who was just 15 when the aging actor espied the underage chorus girl while he was on the warner lot playing the dying john barrymore in “too much , too soon . ”

i thought [ robin hood ] was going to be the best film of the year . . . [ it ] never gels .

filming of a robin hood movie starring russell crowe and cate blanchett is due to take over much of a pembrokeshire beach for the next fortnight .

pyle , howard . the merry adventures of robin hood of great renown in nottinghamshire . 1883 . rpt . new york : macmillan , 1988 .

we have just visited magic robin hood 18th till 25th may . . and after worrying beforehand

the flynn - aadland romance , with the celebrity - crazed florence aadland ( herself the subject of a 1991 stage show , “the big love , ” starring tracey ullman ) hovering over the couple , makes “the last of robin hood” a pretty obvious metaphor for today’s idol - obsessed culture .

patience , john . les enfants de sherwood : robin des bois n’est pas invite ! paris : peter haddock limited , 1996 . [ the children of sherwood : robin hood ( lit . , robin of the woods ) was not invited ! ]

a picture caption last sunday with an article about a new movie on errol flynn , “the last of robin hood , ” misidentified the actress who plays beverly aadland in the film . as the article correctly noted , dakota fanning plays the 15 - year - old with whom flynn has an affair — not elle fanning , who is dakota’s younger sister .

robin hood : origins is directed by otto bathurst ( peaky blinders ) and tells the familiar tale of a group of outlaws fighting corruption after robin hood returns from the crusades . the movie also stars jamie foxx ( little john ) and jamie dornan ( will scarlett ) .

“it’s a real reimagining : it’s not really very recognisable as robin hood” , he told collider .

[ interest in robin hood had been reignited by scott and egan , especially , at this time . many novels and performances featured robin in a leading or supporting role . stocqueler’s novel is a companion to his robin hood comic opera . originally a serial publication , this collected edition presents some robin hood ballads as an appendix to the text . ]

[ the dorling kinder series of eyewitness books is targeted at a young audience . they usually focus on a historical figure , period , or event , presenting information about the chosen subject . robin hood is one of very few literary figures in the series , and the book uses him to illustrate medieval civilization through a telling of his story . it ends with a collage of images of robin hood from the early prints through costner’s appearance in robin hood : prince of thieves ( 1991 ) . ]

not that any of them — marton included — is earning a paycheck from be robin hood . at least not yet .

wga west exec director david young got “significant bonus” to earn $ 1 . 1 million last year

speaking to collider , producer basil iwaynk explained why he thinks robin hood : origins will stand out .

“robin hood daffy . " dir . chuck jones . with mel blanc . warner brothers , 1956 .

knight , stephen . robin hood : a mythic biography . ithaca : cornell university press , 2003 .

the adventures of robin hood . vol . 1 , no . 8 . new york : sussex publishing company , inc . , 1957 .

taxis are quite expensive and the free bus only goes few times a day and last going at 5pm . nottingham

the last of robin hood plants its vodka - soaked flag right into the trash heap , proud to be a tasteless , dangerous romp . lifetime movies makes its theatrical debut with a movie rife with its tv - movie hallmarks , now with some really strong stars . the last of robin hood has cheap production value , declarative - statement - based writing , and subversive sexuality . it’s all as subtle as a romance novel with a shirtless man and the word “passion” somewhere on the cover . think lolita dumbed down .

kevin kline brings the dash to this portrait of errol flynn & apos ; s last hurrah , but the movie & apos ; s a stiff .

[ a garland is a collection of short literary pieces . this volume is open to “robin hood and the tanner , ” whose subtitle , “robin hood met with his match , ” recalls a common theme of the ballads , wherein robin meets a stranger , they fight , robin loses ( or they agree to a draw ) , and robin invites the newcomer to join his band . the work also identifies the tune “robin hood and the stranger , ” again recalling the theme and identifying a popular tune as an accompaniment . were the tune not well - known , it would have been included or not mentioned at all . ]

philip , neil . robin hood : der legendare held der unterdruckten , seine geschichte und seine zeit . illus . nick harris . hildesheim : dorking - kindersley , 1997 . [ robin hood : the legendary hero of the oppressed , his story and his age . ]

“the last of robin hood’’ was clearly produced on a penny - pinching budget , and even an actor of kline’s prodigious gifts can’t totally convince you his flynn ( who had famously been acquitted of statutory rape in 1943 ) would risk jail for fanning’s beverly , who is just not quite trashy enough for the part .

adventures from england : adventures of robin hood . printed with zinaida shishova’s jack straw . minsk : n . p . , 1993 .

mckinley , robin . the outlaws of sherwood . new york : ace books , 1989 .

the last of robin hood is a tacky , trashy , giddy remembrance of errol flynn and his love of a 15 - year - old girl just before he died at 50 . yes , it is in poor taste , but in a slappy way . this has cult classic written all over it .

[ harris tried to prove robin hood was actually a living person in edward ii’s reign ( 1307–27 ) . unfortunately , his enthusiasm for robin hood surpasses his scholarship ; he finds evidence where there is none , or sees it because he wants to prove robin’s existence . ]

harris , p . valentine . the truth about robin hood : a refutation of the mythologists’ theories , with new evidence of the hero’s actual existence . london : p . v . harris , 1951 .

so know the story about robin hood etc but it just seemed a bit all over the place and couldn ' t get into it .

[ this map shows some locations associated with robin hood , both settings for the tales ( e . g . , sherwood , kirklees , and barnsdale ) and as a place name ( e . g . “robin hood’s well” ) . ]

[ unlike most other classics illustrated volumes , which adapt a single work by a recognized author , this robin hood comic draws upon many different popular strands , especially reflecting the story as told in pyle ( 1883 ; case 1 ) and the adventures of robin hood ( 1938 ; case 4 ) . originally published in 1942 , this adaptation of robin hood was reprinted with new cover art in 1955 ( represented here ) and new interior art in 1957 . both reprints are probably in response to the new popularity of robin hood spurred by the richard greene television show ( see case 4 ) and any of the four contemporary films . ]

[ this film was originally slated for release at the same time as robin hood : prince of thieves , but fox recognized the power of its competition and decided to release this film directly to television and video . most robin hood scholars and fans feel this is the better film . the story is much better ( and more in keeping with the traditional legend ) , john irvin’s direction is stronger , and patrick bergin’s robin recalls the capricious and dangerous figure of the early ballads . the medieval character of the film is more historically accurate because j . c . holt , a noted robin hood scholar , served as a consultant . ]

families can talk about how the last of robin hood depicts love . was beverly and errol ' s relationship a healthy one ? was it really love ? what role does sex play ? parents , talk to your teens about your own values regarding sex and relationships .

with the aid of two rollins college students , marton runs a fledgling clothing and jewelry business called be robin hood . in this version of the classic tale , though , there’s no actual stealing .

[ errol flynn’s turn as robin hood , while not the first , is perhaps the most recognized ( see , especially , case 6 ) . an action - oriented telling of the legend , it draws upon the earlier fairbanks film , robin hood ( 1922 ) , for some of its sequences , but ultimately outshines the silent feature in brilliant technicolor . ]

robin is a superhero in the dc comics universe . robin has long been a fixture in the batman comic books as batman ' s partner . the team of batman and robin is commonly referred to as the dynamic duo or the caped crusaders . conceived as a vehicle to attract young readership , robin garnered overwhelmingly positive critical reception , doubling the sales of the batman related comic books . [ 1 ] dick grayson appeared as the first robin in 1940 ; after his becoming of nightwing , several different youths have appeared as robin .

robin hood . dir . john irvin . with patrick bergin and uma thurman . 20th century - fox , 1991 .

“robin hood : he bore a harp in his hand . ” greg hildebrandt collectable card , 1993 . mcspadden , j . walker . robin hood . illus . greg hildebrandt . morris plains , nj : unicorn publishing house , 1989 .

[ the aldine robin hood library , published twice a month , presented eighty - eight stories of robin hood from 1902–1905 . these text - based narratives resemble comic books , and were targeted at a young audience , featuring simple , action - oriented prose and low price . following the success of the fairbanks robin hood film ( 1922 ) , they were reissued from 1924–1927 at 2d . with different covers . both covers are presented in this display . ]

“sons of anarchy” thesp patrick st . esprit has joined errol flynn biopic “the last of robin hood” alongside kevin kline , dakota fanning and susan sarandon . christine vachon ( “boys don’t cry” ) and pam koffler ( “at any price” ) are producing for killer films , with “quinceanera” helmers richard glatzer and wash westmoreland directing from their original screenplay . “robin [ … ]

last month , we were reporting taron egerton’s words about the upcoming robin hood : origins , and how the film had attracted a quality actor to play the sheriff of nottingham in the movie . an actor who , at that stage , he couldn ' t name . the man was speaking the truth too , as ben mendelsohn has been cast in the role .

kevin kline ' s portrayal of a louche , lordly and loose - morals errol flynn in " the last of robin hood " fits with those others . kline , who previously brought douglas fairbanks to life for 1992 ' s " chaplin , " has a field day thrusting and parrying with movie history .

this is a brief overview of the character . for various versions of the character see

* free parking in lexus silver parking garage is valid for sunday evening performances of hood .

it ' s not an auteur smackdown à la last year , but it is still a ' premier league ' lineup , with ridley scott ' s robin hood kicking off 10 days of provocative films from all over . xan brooks and peter bradshaw preview the 63rd cannes film festival

[ the robin hood flour company was founded in western canada in 1909 . “its green - and - red archer emblem has become a familiar and highly regarded symbol of quality and good value from coast to coast” ( from the robin hood flour company website , www . robinhood . ca ) . ]

the life and death of robin hood , the renowned out - law : who lived and died a . d . 1198 ; being the ninth year of the reign of king richard i , commonly called coeur de lion . falkirk : printed for the booksellers , [ 1840–1860 ] .

[ an early twentieth - century retelling of robin hood for children , the debt owed to pyle ( see case 2 ) is unmistakable . especially compare the two images here , from gilbert and pyle ; the style , design , and content of the crane image are all taken from pyle’s original . the idea of robin hood as an appropriate subject for children was reinforced by these and similar works . ]

the early adventures of robin included star spangled comics # 65 - 130 ( 1947 - 1952 ) , his first solo feature . the first robin limited series was published in 1991 , featuring tim drake ' s training to become the third robin . following two successful sequels , the monthly robin ongoing series began in 1993 and was published until 2009 . with damian wayne as the new robin , a new series , entitled red robin , takes the place of the previous robin series ; it will follow tim drake in his new superhero role as he searches for bruce wayne .

" robin hood . " classics illustrated 7 . new york : gilberton company , [ 1942 ; rpt . 1955 ] .

it seems as though every schoolchild knows who robin hood is : a noble outlaw in sherwood forest who fights the oppressive evil of prince ( or king ) john by robbing from the rich and giving to the poor . the earliest appearances of robin are at odds with this romantic notion , as robin is a violent yeoman who steals from the dishonest and helps those whom he pleases . perhaps the one constant feature of the legend is his placement in the center of england , in the sherwood and barnsdale area . this first case presents some of the venues in which robin hood appears . the earliest tales of robin hood largely focus on robin encountering someone in the forest , and either fighting with them or inviting them to dine , after which they would be asked to pay for their dinner . these tales were often collected in books called “garlands” ( see the first text in this case ) . during the tudor period , robin was gentrified by anthony munday , in his two plays the downfall of robert , earle of huntington and the death of robert , earle of huntington ( both 1601 ) . today , most people first encounter robin through films or children’s books , like howard pyle’s work .

these pages were originally prepared as guide to an exhibition ( 5 september 2006 - 19 january 2007 ) in the rossell hope robbins library at the university of rochester . they present , in broad strokes , the development of robin hood from his origins in medieval literature through his modern depictions . the purpose of the exhibit , and the adaptation of this guide , is to give an overview of the character and a sense of his pervasiveness in modern culture , not to give a full history of robin hood ( for which , see j . c . holt ,

“the last of robin hood” will star kevin kline as flynn ; dakota fanning as the teenager , beverly aadland ; and susan sarandon as florence aadland , the stage mother who set them up — and who , say the film’s directors , wash westmoreland and richard glatzer ( “quinceañara” ) , “believed that everything in her life was predestined . ”

robin hood follows hollywood legend errol flynn in the final years of his life . kline stars as flynn , fanning plays his teenage girlfriend , and sarandon plays her mother .

gilbert , henry . robin hood and the men of the greenwood . illus . h . m . brock and walter crane . new york : t . nelson and sons , 1912 .

[ although the characters are not identified as robin hood , little john , and friar tuck , the likenesses are clear . the figures are used in tabletop war - gaming , and lead a unit of archers called “the bowmen of bergerac . ” ]

production is set to start on the taron egerton - headlined robin hood origins film . and egerton has a message for hugh jackman . . .

“robin hood’s peril . ” thriller comics 27 . london : the amalgamated press ltd . , n . d . [ early 1950 ' s ]

[ dumas’ book , first published in 1872 , is largely based on pierce egan’s 1838 robin hood and little john : or , the merry men of sherwood forest . it is telling that flynn’s robin hood has such a strong place in the public imagination still that he is used for the cover , some 58 years after his appearance in the role . ]

[ walt disney’s second attempt at presenting the robin hood myth , this animated feature was more successful than their 1952 live - action the story of robin hood and his merrie men . by presenting the characters as animals , the movie delights children and establishes characteristics at a glance . although not one of disney’s finest animated works , the marketing of the film is incredible ( see the book and pin in case 6 ) , and continues today ; the songs sung by roger miller have proven to be perhaps the most durable aspect of the film . ]

[ this magnet features a very active scene from the 1938 adventures of robin hood starring errol flynn . here , robin and guy of gisborne ( basil rathbone ) duel in the climactic scene . it is interesting to note that the magnet is a black and white reproduction of a color film . the original image may have been a promotional photo . ]

part of the film centres on the seaweed hut near the main car park .

over his long career , robin hood has been adopted — and adapted — into nearly every aspect of popular culture . this final exhibit case features some of the many different appearances he has made , in name or intent , through the last fifty years . robin has truly become an icon of popular culture , appearing in toys , comics , jewelry , and ephemera . the foreign language books presented here further illustrate the spread of robin , a distinctly english hero , into other cultures . despite his connection to a specific period in english history , robin’s appeal goes far beyond the limitations , and his continued life as a popular , legendary hero is assured .

kevin kline plays an aging errol flynn in richard glatzer and wash westmoreland’s the last of robin hood , chronicling the swashbuckling screen icon’s affair with an underage aspiring actress during the sunset years of his life . dakota fanning stars as flynn’s paramour beverly aadland with susan sarandon as her fame - obsessed mother . pic premiered at toronto and hits theaters august 29 via samuel goldwyn films :

[ one of the earliest themes of the legoland building system was the “knights adventure , ” a roughly medieval / fantasy realm . the foresters was the first expansion beyond simple knights and castles . the robin hood theme is unmistakable , as these archers clad in green hide in a forest outpost . ]

[ updating old stories with new art has been a regular feature of robin hood revisions since the early days of printing . pyle has often been recycled , and the gilbert volume ( case 5 ) has received the same attention . noted fantasy artist greg hidlebrandt has created new color illustrations for mcspadden’s 1904 publication , thus modernizing the look of robin hood . interestingly , the artist is considered more significant than the author , as hildebrandt’s name is more prominently displayed on the cover and title page . hildebrandt later produced a series of trading cards based on his art , and his robin hood illustrations were no exception . on the back of the card , the artist is credited with researching his subject to present “proper period costume . ” ]

[ this comic features richard greene on the cover , and is a tie - in to the popular “adventures of robin hood” television show , which ran from 1955–58 . the story itself is not otherwise connected with the television series . ]

now he’s done with the shoot of kingsman : the golden circle , taron egerton is moving on to filming robin hood : origins . the movie was delayed to accommodate egerton’s schedule , given that he was contractually obligated to make kingsman 2 first ( not that there was reluctance to return for another kingsman film ) . now , though , it ' s full steam ahead . the new robin hood film is being directed by otto bathurst , and whilst on the promotional trail for the animated flick sing , to which he provides voice work , egerton has been discussing the approach of the new robin hood movie .

although robin is best known as batman ' s sidekick , three robins have also been members of the superhero group the teen titans with the original robin , dick grayson , being a founding member and the group ' s leader .

bradley , a . w . “to the king’s rescue . ” aldine robin hood library 43 . london : aldine publishing co . , n . d .

yes , it ' s dour , but it ' s also gritty and not nearly as silly as most " robin hood " adaptations .

i expected robin hood to be gladiator + braveheart and i was pleased to find that it stands on its own as an entertaining movie .

post - crisis , there was one instance in continuity when bruce wayne adopted the robin persona . in batboy & robin , a tie - in special to the dc comics storyline sins of youth , bruce and tim drake , the third robin , had their ages magically switched . in an effort to keep up the illusion of batman , bruce had tim adopt the batman identity while he is forced to be robin .

[ wolfman accords robin hood literary status equal to dracula , frankenstein , tom sawyer , and d’artagnan ( from alexandre dumas’ the three musketeers ) , all of whom are featured on the cover and in the story . dracula is transported from the real world into a library . when he shows he is not the same person as the literary character in bram stoker’s novel , robin hood and the other characters try to protect the librarian who summoned him ; ultimately , the librarian exiles dracula from her library and is comforted by robin and d’artagnan . ]

[ a short warner brothers cartoon in which daffy duck tries to prove to friar tuck ( porky pig ) that he is the notorious outlaw robin hood . ]

for a story rife with scandal , the last of robin hood is curiously lacking in energy . scenes plod along from one to the next , bereft of tension or momentum . it ' s a shame , especially for sarandon , who delivers yet another strong , interesting characterization of a compelling , deeply flawed woman . she can do little wrong . too bad the film as a whole doesn ' t live up to her performance .

richard glatzer & wash westmoreland write and direct with todd haynes exec - producing ; this feels like a weirdly specific labor of love . even as the film fails in the simplest technical details ( the photoshop jobs of old tabloids and photographs should never be seen in a movie ) , last of robin hood is certainly always interested in its star’s unapologetic life . the directing duo apparently hunted down tapes of florence aadland over 10 years as part of development , filling flynn’s story with plenty of warts , then awkwardly rushing past them with a wink and smile .

rhead , louis . robin hood . illus . frank godwin , louis rhead , and walter crane . new york : children’s classics , 1988 .

“we are coming round to her point of view , ” mr . glatzer said . “our first day’s shooting in atlanta was in a neighborhood called sherwood forest , right by the intersection of beverly road and robin hood lane . ”

[ roberson’s novel focuses on marian . “lady marian of ravenskeep” flees her “sheltered life . . . to join a shadowy band of outlaws” ( back cover ) . roberson writes historical fiction , and offers a plausible explanation for robin and marian’s love ( and the robin hood myth in general ) . ]

[ the teams middle english texts series offers good , affordable student editions of difficult - to - find texts . this compilation brings together verse and prose texts from robin hood’s earliest appearances through the early seventeenth century . i have copied an excerpt from “robin hood and guy of gisborne” ( lines 21ff ) for comparison to thomas percy’s 1864 edition , below . a good , modern edition intended for a wide range of audiences , this is one of the most popular mets volumes . ]

robin hood . dir . allan dwan . with douglas fairbanks , enid bennett , wallace beery , and alan hale . united artists , 1922 . adventures of robin hood . dir . michael curtiz and william keighley . with errol flynn , basil rathbone , claude rains , olivia de havilland , and alan hale . warner brothers , 1938 . robin hood . dir . wolfgang reitherman . with brian bedford , monica evans , peter ustinov and roger miller . walt disney productions , 1973 . robin and marian . dir . richard lester . with sean connery and audrey hepburn . columbia , 1976 . robin hood . dir . john irvin . with patrick bergin and uma thurman . 20th century - fox , 1991 . robin hood : prince of thieves . dir . kevin reynolds . with kevin costner , morgan freeman and mary - elizabeth mastrantonio . morgan creek productions , 1991 .

once upon a time , when old movies traveled the crackling airwaves and before everything in black - and - white had been banished to tcm , errol flynn was one of the kings of late - night tv . countless hours of school - night sleep were sacrificed to “captain blood , ” “the sea hawk , ” “the adventures of robin hood” and flynn’s cry of “welcome to sherwood ! ”

robin hood : prince of thieves . dir . kevin reynolds . with kevin costner , morgan freeman , alan rickman , and mary - elizabeth mastrantonio . morgan creek productions , 1991 .

[ a historical look at robin hood , pollard is not interested , as p . valentine harris , in identifying robin as a historical individual , but instead discusses the society from which robin arose . his chapters discuss yeomanry , the greenwood , crime , and religion in mid - to late - medieval culture in an attempt to identify the period of the early ballads and tales , and illuminate the tales themselves . ]

[ robin is a children’s hero in other countries , as shown by patience’s series of children’s books . robin’s rebellious nature is emphasized in this picture book for early readers . ]

robin hood . dir . wolfgang reitherman . with brian bedford , monica evans , peter ustinov , and roger miller . walt disney productions , 1973 .

in this our spacious isle , i thinke there is not one , but he hath heard some talke of him [ robin hood ] and little iohn ; and to the end of time , the tales shall ne ' r be done , of scarlock , george a greene , and much the millers sonne of tuck , the merry frier , which many a sermon made , in praise of robin hood , his out - lawes , and their trade . michael drayton , from poly - olbion [ 1622 ] , song 26 , lines 311 - 16

we came here 12 september last year and were given an upgrade upon arrival . the place was spotless and well looked after . the food was a bit hit and miss but with catering for a large number of peopl

in the twentieth century , scholars started to pay more attention to popular culture , regarding it as a proper venue for academic study . perhaps the two most important figures for robin hood’s place in academic study are j . c . holt and stephen knight . both have written many articles and books discussing the importance of the figure from historical and literary standpoints . many others have written about robin hood in some way or another , and every facet of the legendary hero is recognized as having some intellectual value . despite robin’s lack of a literary pedigree , he is now recognized as a worthwhile object of serious study .

map from dobson & taylor , rymes of robyn hood : an introduction to the english outlaw ( pittsburgh : university of pittsburgh press , 1976 ) , p . 69 .

the first robin miniseries was printed in 1992 following tim drake ' s debut as robin . the series centered around tim ' s continued training and set up villains linked to the character . it was followed up by another series robin ii : joker ' s wild which pitted tim against his predecessor ' s murderer the joker . with batman out of town , it was up to tim and alfred to end the joker ' s latest crime spree . a final miniseries , robin iii : cry of huntress wrapped up the trilogy , teaming tim with the huntress . in 1994 , the success of the three miniseries led to the ongoing robin series was published to 2009 . the title will be replaced by a batman and robin series following the ' battle for the cowl ' mini - series .

[ a big - budget film that did very well at the box office , “prince of thieves” is not a favorite with robin hood scholars and fans . this film abandoned the high action and technicolor swashbuckling of 1938’s adventures for a more “realistic” ( that is , dark and dirty ) portrayal of the period . despite its problems , it served to introduce a new generation to the robin hood legend , and it highlights certain trends in medievalism . as the dvd case shows , many robin hood films are gaining new life when released on dvd , with extra features , including cut or extended scenes , interviews , trailers , short featurettes , and other information . ]

tentpole ads and marketing stunts are popping up all over the croisette in the lead - up to the cannes festival , which kicks off wednesday . among the most splashy is sony’s spider - man : homecoming billboard atop the carlton hotel and lionsgate’s trailer installation for robin hood in front of the majestic hotel .

robin hood has been a consistent presence in the history of film . although he is not as popular a figure as some others , every generation has had a robin hood film , and nearly every film has been popular and profitable . he also quickly moved to television . robin’s popularity in these visual media is easily explained . the simplicity of robin’s motives appeals to a wide audience , and the action - orientation of the story allows for great visual spectacle . it is also very adaptable ; it is easy to present on the stage and screen , as there are no transformations , no special effects , no expensive costumes or sets necessary to tell the story of the outlaw hero . the basic plot itself is well - known , and the adaptability of the story lends itself well to different audiences . as audiences have changed , robin has been able to reflect those changes without losing his essential characteristics .

dekoven , reginald . robin hood , or , maid marion : a comic opera in three acts . london : hapwood & crew , [ 1890 ] .

ridley scott ' s revisionist take on this oft - told tale offers some fine acting and a few gripping action sequences , but it ' s missing the thrill of adventure that made robin hood a legend in the first place .

pardon my french , but that’s bullshit mrs . aadland . you and your movie’s affinity for tawdry chintz is right there in the lifetime production label . you know , for a movie that cavalierly portrays a legendary hollywood actor as a charming statutory rapist , last of robin hood isn’t as icky as you’d expect . oh , yes , conceptually , this movie’s in extremely bad taste , and it does a disservice to a thrilling but troubled legend , under - utilizing oscar winners in the name of tabloid tales . yet , as old - fashioned gossip , the last of robin hood is good in just that way . you know that thing where you force a frown when you know what you’re hearing is awful , even though you’re kind of smiling in shock and guilty amusement ? that’s what errol flynn’s story does .

errol flynn just might be the role kevin kline was born to play , but “the last of robin hood” doesn’t do either actor justice , reducing the matinee idol’s scandalous final fling — with 15 - year - old starlet beverly aadland ( an older - looking dakota fanning ) — to a waxy , smallscreen - caliber intrigue . it’s as if co - directors richard glatzer and wash westmoreland [ … ]

adventures of robin hood . dir . michael curtiz and william keighley . with errol flynn , basil rathbone , claude rains , olivia de havilland , and alan hale . warner brothers , 1938 .

we used the free bus to go to benidorm a couple of times which was handy and we visited the tropical splash hotel which i fought was a fab place . pool was amazing but i think i still prefer robin hood for the all around entertainm

with so many variants of the story already filmed , scott and his screenwriter , brian helgeland , have gone for what , if this was a superhero film , would be called an origin myth : it finishes at pretty much the point most tellings of the tale start . scott ' s robin hood is not a story of derring - do in sherwood forest , nor is it of merry chaps in lincoln green outsmarting the vile sheriff of nottingham ; it ' s a story of dispossession and rebellion that manages to cleverly link together most of the seemingly irreconcilable elements of the hood myth , and wrap it all up in a warm , fuzzy ball of pro - democratic class consciousness .

in some ways , kevin reynolds ' s robin hood : prince of thieves was the very first " dark - n - gritty reboot . " released in june of 1991 , the warner bros . / time warner inc . film was itself an attempt to take a beloved action - centric property and go " full batman . " but of course in this case , it was tim burton ' s batman that was being somewhat mimicked . the kevin costner movie didn ' t just cast the obscenely popular actor / movie star , coming off of the untouchables , bull durham , field of dreams , and dances with wolves , in the role of robin hood and call it a day . the film quite literally fashioned a much darker and more realistic look at the robin hood legend . this film confronted the horrifying legacy of the crusades head - on while offering a grim and determined robin of locksley who had to not just fight for the poor against cruel taxation but avenge the murder of his father and take out a supervillain who was babysitting the throne in king richard ' s absence . said supervillain of course was the sheriff of nottingham , played with scenery - chewing gusto by alan rickman fresh off die hard .

a lifetime films presentation in association with killer films and big indie pictures , the last of robin hood was produced by declan baldwin , maggie malina , pamela koffler and christine vachon . executive producers include todd haynes , rob sharenow , tanya lopez , molly thompson , colleen mccormick and lisa hamilton daly . the rights deal was negotiated by samuel goldwyn’s ian puente and by molly thompson of lifetime films / a + e studios and cinetic media’s john sloss on behalf of the filmmakers .

errol flynn , the swashbuckling hollywood star and notorious ladies man , flouted convention all his life , but never more brazenly than in his last years when , swimming in vodka and unwilling to face his mortality , he undertook a liaison with an aspiring actress , beverly aadland . the two had a high - flying affair that spanned the globe and was enabled by the girl’s fame - obsessed mother , florence . it all came crashing to an end in october 1959 , when events forced the relationship into the open , sparking an avalanche of publicity castigating beverly and her mother – which only fed florence’s need to stay in the spotlight . the last of robin hood is a story about the desire for fame and the price it exacts .

with the last of robin hood making its way into select theaters on august 29th , we got the chance to sit down with fanning and discuss how she’s been choosing her roles lately and what it was like jumping into this true story . hit the jump to catch what she said about working with kline and sarandon , honoring the truth to the situation while making the character her own , how having worked as a child actor helps her today , the book - to - film adaptation of brain on fire and more .

my dad and i enjoyed dinner at the robin hood on our way home from wales . the menu is very affordable and there is a decent variety of meals to choose from . the food itself is a bit average , but still tasty . the bar staff . . .

but neither of our lord nor of our lady the least that ever was written . ' ]

director ridley scott and actor russell crowe reunite for their fifth big - screen outing , a retelling of the robin hood legend featuring the gladiator star in the titular role . a bowman in the army of richard coeur de lion , virtuous rogue robin hood rises from an unlikely background to become a hero to the impoverished people of nottingham and lover to the beautiful lady marion ( cate blanchett ) . cyrus voris , ethan reiff , and brian helgeland collaborate on the screenplay for a costume adventure produced by brian grazer ( frost / nixon , american gangster ) . ~ jason buchanan , rovi

the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans . it represents the percentage of professional critic reviews that are positive for a given film or television show .

[ “based on old legends of england , ” this high school - level text juxtaposes two english heroes who fought tyranny : robin hood and jack straw , a leader of the revolt of 1381 . the volume also includes a brief critical article on jack straw , by a noted literary critic . this book was published shortly after the dissolution of the ussr , and the heroes would have resonated with the new freedom encountered in belarus . ]

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and then there’s kline’s last scene as the dying flynn — who can’t resist telling an audience the famous story of drunkenly discovering his pal john barrymore’s corpse in his easy chair , where it was placed as a ghoulish prank by their friends .

aside from mel brooks ' s spoof robin hood : men in tights , which is pretty lousy no matter how much we adore cary elwes and roger rees and / or now matter how young you were when you first saw it , there wasn ' t a big hollywood robin hood movie for 19 years . and it too was sold as a , wait for it , more serious and more realistic adaptation of the sherwood forest legend . ridley scott ' s robin hood was a classic example of a botched origin story , in that it spent the entire film laying the foundation for the character and the legend that we all came to see . you want to see robin hood doing his robin hood thing ? sorry folks , you better hope there is a sequel . but there was no sequel , as the $ 200 million russell crowe / cate blanchett vehicle ( does cate blanchett even remember that cate blanchett was in this ? ) justifiably received poor reviews and grossed $ 321m worldwide thanks to a face - saving $ 216m overseas .