Men of Sherwood Forest (1954) Reviewed

Men of Sherwood Forest from 1954 was the first of several Robin Hood movies from Hammer Films. As such, it is a standard adventure tale that follows the usual path of Merry Men being merry, Merry Men being unjustly accused, and Merry Men having to save the life of Good King Richard. The titular "Men" in the case of this movie are really just Robin Hood (Don Taylor), Friar Tuck (Reginald Beckwith), Little John (Leslie Linder), and Lady Alys (Eileen Moore) who periodically appears dressed as a man (as convincingly as might be expected). The other Merry Men are little more than extras.

The music (composed by Doreen Carwithen) is probably the best aspect of the film. It enhances the mood and supports the action without being distracting, which is not as common as one would hope. If only the rest of the film were worthy of it...

The basic plot involves the murder of a knight who is carrying an object that holds the secret plan for King Richard's return to England after his imprisonment in Germany. Robin Hood is made aware of this and engages in various acts of skullduggery and stealth to try to learn the secret plan and rescue King Richard before he can be assassinated by Prince John's fan club.

The pacing is adequate, but there is no perceptible character development. Regardless of the merry shenanigans heaped upon the plot, the whole is rather flattened by the characters' two-dimensionality. And whilst the highlight of the movie is perhaps Robin Hood's sneaky escapades and impersonations, the lowest points are surely Robin Hood's other pillar: swashbuckling. The fight choreography is amongst the most sluggish in the genre and the swordplay is entirely unconvincing.

That being said, Men of Sherwood Forest is not entirely without merit. The combination of music, set, costuming, and cinematography go far in establishing a sense of place, time, and an appropriate ambience. At least Hammer Films' first color film was successful in its visual (and musical) presentation.

Writing: Mediocre/Fair
Directing: Fair
Acting: Fair
Cinematography: Good
Stunts: Fair
Swordplay: Poor
Panache: Good

Overall Rating: Fair
Swashbuckling Rank: Fair

Written by: Allan MacKinnon
Directed by: Val Guest
Performed by: Don Taylor, Reginald Beckwith, Eileen Moore, David King-Wood, Douglas Wilmer, Harold Lang, Ballard Berkeley, Patrick Holt, Wensley Pithey, Leslie Linder, et al.

Swashbuckling Thought of the Day: 2026-07-31

A few months ago, I watched Men of Sherwood Forest (the first Robin Hood movie from Hammer Films) for the first time, and though I intended to write a review immediately, I didn't, and now I remember nothing about it. So, I need to watch it again, despite it having failed to leave any impression, in order to write a review for my hapless swashbuckling blog. I may have a few more free days in August, which will free me to write this review for free. You are free to read it and you are free to comment on it if you feel the inclination.

And that is this month's Swashbuckling Thought of the Day. (Sorry.)

Maybe I'll hold the movie in higher regard after a second viewing. (It's a possibility!)

Swashbuckling Thought of the Day 2026-06-30

Lately, I've been watching The Buccaneers (1956-1957), a British television show from the same studio that produced The Adventures of Robin Hood and The Adventures of Sir Lancelot. I just watched the seventh episode, "The Slave Ship," and I must say the show is getting better and better. I must find it on DVD or Blu-ray, if possible. So far, I'm enjoying it, and I look forward to reviewing it.

Swashbuckling Thought of the Day 2026-05-10

In a previous thought, I noted the scarcity of swashbuckling blogs and my intention to search for more. After another moderately long search, I am left unrewarded. Using the terms "swashbuckling" and "blog," the majority of results by far consist of definitions of the word "swashbuckling" and old news items in which someone refers to someone as a "swashbuckler." Links to actual blogs about swashbuckling are rare indeed. Six of the eight blogs in my blogroll haven't been updated in a year or more. Wake up, swashbucklers! Blog for a bit!

Swashbuckling Thought of the Day 2026-04-27

I realize it may seem that I dislike swashbuckling movies based on the last however many reviews I've written, but I assure you I greatly enjoy great (and even slightly less than great) swashbuckling movies. The problem is that swashbuckling was once a hugely popular genre, and, like anything, only a fraction of that number was actually good. Now, you could ask me why I don't just review the movies I consider good and leave the rest to molder as they deserve. To which I answer: I am on a journey of discovery. Many of these movies I am watching for the first time. I do not know what I will like or dislike until I have watched them. If I dislike a movie, should I not at least give my readers a fair warning? If nothing else, it contributes to the overall picture of the history of swashbuckling in cinema. There are highs and lows. Lately, it may have resembled a whirlpool, but I promise there are calm waves and fair winds ahead. Eventually.

The Son of Robin Hood (1958) Reviewed

The Son of Robin Hood (1958) is a semi-romantic, semi-comedic, semi-dramatic, semi-adventurous romp through a setting reminiscent of many other faux medieval sets that were all the rage in the 1950s.

When the late Robin Hood's band of merry men discover a plot to usurp the throne of England by the ruthless Des Roches (David Farrar), they send an urgent message to Robin's only descendant, who resides in Spain. They are heartened by the reply and eagerly await the arrival of Robin Hood's son to lead them to victory. Alas, Robin Hood had no son, and it is his daughter, Deering Hood (June Laverick), who answers their call. This will not do according to Little John (George Woodbridge), for surely the merry men would never accept a woman to lead them even if she is the daughter of Robin Hood and can shoot as well as or better than he. Enter Jamie (David Hedison), with whom Deering had an encounter when she first landed. Jamie already has an axe to grind with the villains as they have imprisoned his elder brother, and it is decided that he will assume the name of Deering and pretend to be the son of Robin Hood. The real Deering may tag along.

With Jamie pretending to be Deering and Deering pretending to be his page, and eventually Jamie pretending to be Deering pretending to be a French nobleman and Deering pretending to be his page pretending to be a French noblewoman, the film devolves into a poor imitation of the Doris Day and Rock Hudson school of romantic comedy.

The spirit of Robin Hood is a faint echo in this tawdry pantomime that fails to render history or legendry with any accuracy or sense of adventure. It fails in every regard except possibly cinematography, but since it was filmed in Cinemascope and I can only find it in the wrong aspect ratio, I shall refrain from judging it in that category. Perhaps someday, if I can watch it in its original aspect ratio, I'll revisit this review, but for now the sentence is banishment.

Writing: Poor
Directing: Poor/Mediocre
Acting: Mediocre
Cinematography: n/a
Stunts: Poor
Swordplay: Poor
Panache: Mediocre

Overall Rating: Poor
Swashbuckling Rank: Poor

Written by: George George and George Slavin
Directed by: George Sherman
Performed by: David Hedison (as Al Hedison), June Laverick, David Farrar, Marius Goring, Philip Friend, Delphi Lawrence, George Coulouris, George Woodbridge, et al.

The Crimson Pirate (1952) Reviewed

The Crimson Pirate (1952) is a comedic action tale set somewhere in the Caribbean sometime in the 18th Century. Burt Lancaster is Captain Vallo, a pirate of undetermined origin who has a penchant for carefree acrobatics and extravagant heists. His closest comrade and co-conspirator is Ocho (played by Nick Cravat, Lancaster's friend and fellow former circus performer), a mute pirate who is perhaps Vallo's only equal. Vallo's latest elaborate plan is unexpectedly complicated, however, by the arrival of Consuelo (Eva Bartok), the daughter of a rebel leader. It would require a flow chart to describe the plot, but here is the basic structure: A prideful pirate captain undertakes a daring heist, adds a double cross, tops it off with a triple cross, falls in love at first sight, becomes moody and sullen because of confusing emotions that are obstructing his amoral moneymaking schemes, decides to help the rebels only because he has a crush on the rebel leader's daughter, and then a montage ensues wherein the pirate captain becomes an idealistic and inspirational leader who motivates the oppressed to work industriously towards an ingenious plan to free the rebel leader and topple their oppressors. When Vallo isn't grumbling and feeling sorry for himself for liking someone, he's swinging from ropes, jumping through windows, and generally engaging in joyous gymnastic shenanigans. The story takes another whimsical turn after the rescue of Professor Prudence (James Hayter), an academician with an enthusiasm for invention that rivals that of Leonardo da Vinci. His fascination with fabulous contraptions will be central to the montage and the ingenious plan.

The primary ingredients of a satisfactory swashbuckling movie are sadly lacking, though. Even with Lancaster's introductory monologue imploring the audience to indulge the film's flagrant use of poetic license, every single thing in The Crimson Pirate defies believability. The most fantastical Sinbad movie has more solid grounding than any aspect of this film. The characters are shallow, the dialogue is rudimentary, and the story lacks spirit. The only time Vallo picks up a sword is to cut a rope, and the swordplay that does occur is embarrassingly unconvincing. The stuntwork in itself is impressive, but—without the foundation of believable characters and meaningful story—it falls flat. We just don't care.

The swashbuckling romance of The Crimson Pirate seems less like a promise than a prank, which would be forgivable if it were funny, but it isn't. It's a bit of a drag.

Writing: Mediocre
Directing: Fair
Acting: Mediocre/Fair
Cinematography: Good
Stunts: Great
Swordplay: Poor
Panache: Mediocre

Overall Rating: Fair
Swashbuckling Rank: Mediocre

Written by: Roland Kibbee
Directed by: Robert Siodmak
Performed by: Burt Lancaster, Nick Cravat, Eva Bartok, Torin Hatcher, James Hayter, et al.

The Prince of Thieves (1948) Reviewed

The Prince of Thieves (1948), based vaguely on Alexandre Dumas' Le Prince des voleurs, begins with a jolly outing by Sir Allan Claire (Michael Duane) and his sister, Lady Marian Claire (Patricia Morison), which is rudely interrupted by an assassination attempt by an anonymous bowman (I. Stanford Jolley). Luckily for the plot, Robin Hood (Jon Hall) just happens to be in the vicinity and is soon drawn into it. Hall's Robin Hood has the charm and bravado of a middle manager, which is apparently enough to lead a band of half-lucid merry layabouts. Sir Allan was promised the hand of Lady Christabel (Adele Jergens), but she is now a prisoner being forced to marry a villainous nobleman who is a supporter of King John. Naturally, Robin agrees to help Sir Allan win her hand, which results in a breakneck series of battles, jailbreaks, rescues, and predictable cheers upon any mention of "Good King Richard."

Filmed, ironically, in Cinecolor, a technique infamous for its inability to accurately render the color green, The Prince of Thieves is dazzling only in the vividness of its earth tones, which may be appropriate for a film that has more in common with a western than an English folktale. A handful of British actors lend a hint of legitimacy, but the American cast does little to dispel the pervading artificiality. The acting and writing are equally uninspired, the directing and fight choreography are equally clumsy, the music is bland (and usually mismatched to the scenes), and the humor is stale. This film has nothing to recommend it except, perhaps, to completionist fans of Alan Mowbray, who is adequate as Friar Tuck.

Writing: Poor
Directing: Poor
Acting: Poor
Cinematography: Mediocre
Stunts: Mediocre
Swordplay: Poor
Panache: Mediocre

Overall Rating: Poor
Swashbuckling Rank: Mediocre

Written by: Charles H. Schneer and Maurice Tombragel
Based on: Le Prince des voleurs by Alexandre Dumas
Directed by: Howard Bretherton
Performed by: Jon Hall, Patricia Morison, Adele Jergens, Alan Mowbray, Michael Duane, H.B. Warner, Lowell Gilmore, Gavin Muir, I. Stanford Jolley, et al.

7th Sea 3rd Edition Crowdfunding Soon to Be Launched

Studio Agate has announced an upcoming Kickstarter project for a new edition (3rd) of the fantasy swashbuckling role-playing game, 7th Sea. I have no experience with the game in any edition and have never read it, but it has been a popular topic of online discussion amongst a subset of gamers for years. Click here for more information.

Talk Like a Pirate in the Year of Our Lord Twenty Hundred and Twenty-Five

Ahoy! 'Tis the day after International Talk Like A Pirate Day, and I may deserve to be keelhauled for the effrontery of forgetting such an auspicious holiday, but I'll make amends and wish you a Belated International Talk Like A Pirate Day in the hopes you'll spare a scurvy seadog who had to labor that day without the company of a single living soul... on a desert isle as 'twere.

Arrrrrrrrrrrr!