One of the best Robin Hoods in the history of adventure cinema
This revisiting of the universal myth of Robin Hood, sustained by a very lively Giuliano Gemma and gaudy colours, has in recent times reawaken a wave of fresh enthusiasm on behalf of a young but authoritative critic. There are various reasons for this praise: Giorgio Ferroni’s clear and essential direction, the frequent references to medieval painting, the mix of genres that also draws from the western and the sword-and-sandal. The influential German critic Olaf Möller writes: “At the time, L’arciere di ferro must have seemed at once old-fashioned and strangely modern, as though it had come out from a fissure in time”. Not bad for a “simple” adventure film.
Robin Hood goes into hiding in Sherwood Forest, as he leads a revolt against King John the usurper. Upon the arrival of the good Richard the Lionheart, he will have his complete success.
One of the best Robin Hoods in the history of adventure cinema
This revisiting of the universal myth of Robin Hood, sustained by a very lively Giuliano Gemma and gaudy colours, has in recent times reawaken a wave of fresh enthusiasm on behalf of a young but authoritative critic. There are various reasons for this praise: Giorgio Ferroni’s clear and essential direction, the frequent references to medieval painting, the mix of genres that also draws from the western and the sword-and-sandal. The influential German critic Olaf Möller writes: “At the time, L’arciere di ferro must have seemed at once old-fashioned and strangely modern, as though it had come out from a fissure in time”. Not bad for a “simple” adventure film.
Robin Hood goes into hiding in Sherwood Forest, as he leads a revolt against King John the usurper. Upon the arrival of the good Richard the Lionheart, he will have his complete success.
