Showing posts with label Behind The Camera. Show all posts
Showing posts with label Behind The Camera. Show all posts

Carmen Dillon's Robin Hood

Scathelock is put in the stocks


Neil has been a regular contributor to this blog for many years and shown above is a still that he recently sent to me. It is of course from Walt Disney's Story of Robin Hood and his Merrie Men (1952). I love seeing these images from my favourite movie. When concentrating on the film's
action, it is easy to miss some of this detail. Look at the elaborate hinges on the door for example.

It was Carmen Dillon (1908-2000) who was given the job of art director on Robin Hood by Walt Disney. She had a fine reputation on both sides of the Atlantic for imagination and artistic flair allied to a practical approach to set design and construction, which had been evident in her art direction of some of the biggest and most highly praised period films made in Britain at that time, including Henry V and Hamlet, for which she won her Oscar. 


Carmen Dillon discusses the design of Nottingham Square

Catherine O'Brien in her article, Carmen Over Came Prejudice
 ..........And Put On Her Slacks, gives a detailed account of this remarkable woman and her work on Robin Hood:

"Small and neat of figure, with greying hair and light blue eyes, Carmen Dillon was born in Ireland. After she had qualified as an architect, she became greatly attracted by the artistic possibilities of film set design and set out to get a job which would train her in this field. It is strange to reflect that this happened only fifteen years ago and yet at this time no one in film studios would take the idea of a woman art director seriously.


Carmen discussing a castle interior

Anyone knowing Carmen Dillon, however, would realise that such an attitude would only serve to strengthen her determination to attain her objective. Eventually, she obtained toe-hold in a studio at Wembley, as an assistant in the art department. Even then petty restrictions beset her at every turn. She was not permitted to go on a set in slacks and was forbidden to discuss her work with the men in the studio workshops and stages. After a few weeks of making the best of this difficult situation, Carmen was asked to take over the work of an art director who had fallen ill on the eve of a production. By proving her undoubted talent and aptitude for production design she was able to overcome the prejudice which had hitherto hampered her career.


The townsfolk turn on the Sheriff

On Walt Disney’s Robin Hood, Carmen was in control of a staff of over two hundred men, who accepted her advice and judgement with the same respect and deference as they would accord to any male art director. Among the technicians, she has earned, through her skill and tact, a reputation for knowing exactly what she wants, without fuss or muddle. She carries all the details of planning and building the sets in her head and has a remarkable knack of foreseeing and thus forestalling building problems.
Before the stage is set for the actors, the lighting cameraman and the director, Carmen plans the work, step by step, with fastidious detail. In the case of Robin Hood, the first step was research, to ensure that the pictorial effect should have a truly authentic 12th-century keynote.



Collecting for the King's ransom in Nottingham Square

Two of the twenty-five interior sets designed by Carmen Dillon for Walt Disney’s Robin Hood serve to illustrate the immense research and artistry with which she conjured up the background and atmosphere of 12th-century England. One of- Nottingham Square, in the reign of Richard Lionheart-was, constructed both on Denham lot and on one of the studio stages-to cater for both units.

Three sides of an irregular square were surrounded by houses, some half-timbered and all pre-fabricated in the plasterer's shop under the direction of Master Plasterer Arthur Banks. The houses and shops made of plaster and wattle (which was, in fact, the building material of that period) had every appearance of solid antiquity in despite of their backing of tubular steel scaffolding. Most imposing was the Sheriff’s house, with its carved arches and steep outside staircase. Thatching was carried out by one of Britain’s oldest surviving craftsmen in this line Mr A. Gilder of Stoke Poges.

The centre of the square was filled with wattle hurdles and pens in which were enclosed game and produce of every type. By the time the stars, featured players and extras-numbering up to two hundred-had taken their place in the square it was hard to imagine a more convincing reproduction of life in 12th century England. It is in this setting that Robin Hood and his men ride in from the forest to rescue a poacher and a farmer who are suffering at the hands of the Sheriff of Nottingham and succeed in turning the tables on their hated persecutor.


The Outlaws receive a signal

One of the most important sets in the film is the Sherwood Forest camp where Robin Hood and his Merry Men live in outlawry, in their woodland hideout. Some weeks before the film, Carmen accompanied a research party including producer Perce Pearce, scriptwriter Larry Watkin, and film star Richard Todd to Nottingham and returned laden with photographs of every relic of Robin Hood days, which would help her construct the original setting at Denham Studios.

In what little remains of the original Sherwood Forest, Carmen studied the Queen Oak, where Robin Hood and Maid Marian are said to have their trysting-place; Robin Hood’s Larder, another giant oak, where legend has it, the outlaws stored their game and the vast labyrinth of caves at the foot of Creswell Crags, where Robin Hood and his men are said to have hidden their horses when the Sheriff of Nottingham was on their tracks. 

Back in the studio, Carmen incorporated many of these features of the Robin Hood country into her set design, which then became the subject of a conference between producer Perce Pearce, scriptwriter Larry Warkin and herself before passing it into the hands of the draughtsmen and model makers in her art department. From their blueprints and scale models the construction manager, Gus Walker, was then able to allocate to the various departments concerned the work required to bring the sketch into concrete existence".


Carmen plans Nottingham Square

Carmen Dillon was without a doubt one of the main reasons Disney's Story of Robin Hood oozed quality. I believe her remarkable talent needs to be highlighted a lot more. 

In an interview, Ken Annakin, the director of Robin Hood said of her:

"Carmen was one of the great art directors on the European scene. Not only was she an accomplished painter, but she was able to supervise big set construction and set-dressing, down to the last nail. So much so, that sometimes when I was lining up a shot, I found her a bit of a pain in the ass because she would insist that her designs and her visual conception of a scene must be adhered to, whereas I regarded the sets only as a background for the actors".

Carmen Dillon plans another set

Annakin went on:
"He [Walt] didn’t stay very long on Robin Hood. He had great trust in Carmen Dillon, who was responsible for the historical correctness. Everything, from costumes to sets to props and he - I’m not so sure why he was so certain - but he was dead right at having chosen her. And she did that picture and Sword and The Rose too. And his reliance was 100%. A director can’t go into every historical detail and so I would check with her also, pretty well on most things. And she would quietly be on the set and if we used a prop wrongly, she would have her say. Mine was the final say, as director, but one couldn’t have done without her ".

The Adventures and The Story



Two Robin Hood films. One was made in America and became legendary in its own right. The other was made in England and has almost completely been forgotten. The Adventures of Robin Hood (1938) and The Story of Robin Hood and his Merrie Men (1952). In this article, I would like to compare these two versions. 

In his book The Best of Disney (1988),  Neil Sinyard says:

"Nobody would make great claims for the imaginative cinematic qualities of the films Disney made in Britain in the 1950s."
He then goes on to say:
" The Story of Robin Hood and his Merrie Men (to give it its full title) certainly pales in comparison with earlier film versions of the legend starring Fairbanks and Flynn."


I am a great admirer of both early versions. I think Warner Brothers The Adventures of Robin Hood (1938) truly deserves its iconic status. But, I do have issues with Sinyard over his statement that Disney's Story of Robin Hood lacks 'imaginative cinematic quality'. In my opinion, 'Uncle' Walt's live-action romp through Sherwood stands-up well, alongside Hollywood's Oscar winner. 

The Story of Robin Hood was one of the most popular films in Britain in 1952 and would eventually gross over $4,578,000 at the American box office and $2.1. million worldwide. It was the last film to be made at Korda's legendary Denham Studios in Buckinghamshire. The location filming was done in the beautiful countryside of Burnham Beeches. They didn't need to spray the leaves green like their American cousins!



Erich Korngold's score for The Adventures of Robin Hood has, of course, passed into cinematic history. It's 'chromatic harmonies,  instrumental effects, passionate climaxes—all performed in a generally romantic manner,'  have been rightly praised. But, The Story of Robin Hood also had a lush, rousing, symphonic score, played by the Royal Philharmonic Orchestra and conducted by Muir Mathieson. Its composer was Clifton Parker (1905-1989). 

Parker received very little recognition for his film scores in his lifetime, but during his distinguished career, he composed for 50 feature films, as well as numerous documentary shorts, radio and television scores and over 100 songs and music for ballet and theatre. Sadly today, many of his compositions are lost. But, Parker was regarded by film-makers of the time, as ' the composer who never disappoints.' On The Story, he certainly did not!

When comparing the two movies, I believe it is respect for the legend that is important. For me, the research conducted by the Disney team shines through.

When Walt Disney first announced that he was to make The Story of Robin Hood, he received a letter from the Sheriff of Nottingham inviting him to visit the City Library and inspect the collection of over a thousand books of ‘Robin Hood’ lore. Walt Disney replied that he  would be unable to go to England until the film went before the cameras, but that he would extend the kind invitation to Richard Todd and his production unit under the supervision of producer Perce Pearce.


The Disney production crew, including Richard Todd in Nottingham

Walt Disney’s production crew included producer Perce Pearce, scriptwriter Lawrence Watkin, historical advisor Dr Charles Beard and art director Carmen Dillon. Some of the places that the production crew visited included Nottingham City Library, Nottingham Castle, Newstead Abbey, Edwinstowe, Sherwood Forest including Robin Hood’s Larder (now gone) and the Major Oak, Ollerton, Creswell Crags, Nottingham’s Caves, the Salutation Inn and the Trip to Jerusalem Inn.

The legend of Robin Hood was first transmitted by travelling entertainers - minstrels and The Story has Alan-a-Dale, played by a real balladeer, Elton Hayes, who not only carries the story from scene to scene but cleverly imitates how the myth was formed.

Elton Hayes as Alan-a-Dale
Elton Hayes as Alan-a-Dale


Elton Hayes had a hit record with, Whistle My Love (1952) from The Story of Robin Hood. In the 1938 Errol Flynn film, the character Alan-a-Dale is merged with Will Scarlet and given the name 'Will o' Gamwell'. This character, played by English actor Patric Knowles, just plucks at a lute in one scene.

One of the strong-points in The Adventures is, of course the iconic sword-fight between Robin (Errol Flynn) and Guy of Gisborne (Basil Rathbone). The shadow of the two characters flickering on the castle walls is a piece of cinematic history.

Errol Flynn as Robin Hood and Basil Rathbone as Guy of Gisborne

But, The Story of Robin Hood has an equally climactic scene. Sheriff De Lacy (Peter Finch) has gone back on his word as a knight and prevents Robin Hood (Richard Todd) from re-joining Marian (Joan Rice) and the outlaws in Sherwood Forest. As Robin reaches the drawbridge, the treacherous Sheriff seizes a spear from a castle warden and launches it at the outlaw, wounding him.

Richard Todd as Robin Hood



Peter Finch as the Sheriff fights with Robin Hood


The outlaw then scrambles over the drawbridge, avoiding being crushed and has to swim across the moat, amidst a shower of arrows - a breath-taking scene in which Richard Todd was nearly seriously injured!



Claude Rains (Prince John), Basil Rathbone (Gisborne) and Melville Cooper (Sheriff)

I am sure that fans of The Adventures of Robin Hood will argue that the sheer quality and sumptuous sets and costumes of this classic, raise it well above Walt Disney's live-action version. Once again, I argue that there is little to choose between the two. The costumes and sets were equally as glamorous. Hubert Gregg, who played Prince John in The Story complained that his expensive costume was so heavy he had trouble getting down from his horse:

"The costumes were beautiful, if unnecessarily weighty in their adherence to medieval reality. One cloak was heavily embroidered and lined with real fur: it cost more than a thousand pounds (a good deal of money in pre-inflationary days) and took all my strength to wear. In one scene I had to ride into the town square, leap off my horse and enter the treasury building in high dudgeon.


Hubert Gregg as Prince John in the £1000 cloak

To add to the reality our saddles were fitted with medieval pommels at the back that had to be negotiated carefully when dismounting. In the first take, I lifted my leg as gracefully as I could the necessary six inches higher than usual and leapt beautifully off my steed. As my feet touched the ground the weight of my cloak carried me completely out of frame to the left."

Prince John (Hubert Gregg) and the Sheriff (Peter Finch)

Many of the costumes and props from Walt Disney's Story of Robin Hood found their way into later media productions of the legend, including the hugely successful TV series of the 1950s starring Richard Greene.


A sumptuous set from Disney's Story of Robin Hood

I could go on and on comparing these two wonderful films. But I would like to finish with a look at the two versions of Robin's beautiful girlfriend, Maid Marian.

Olivia De Havilland's role as Marian was something she was very proud of. Understandably so. Her partnership with Errol Flynn fizzed with electricity and it is claimed that she was in love with him during the filming. 


Olivia de Havilland as Marian and Errol Flynn as Robin Hood

She was described by Milo Anderson, the costume designer on The Adventures, as a strong-minded woman who had her own ideas about things on set and would do research into her roles. It paid-off. Olivia's performance broke the mould of Maid Marian. Before, the character had simply been a love-interest 'walking through lavish sets in a queenly manner.' But Olivia's Marian is fiercely independent and spirited. She is integral to the plot of the film, guiding the outlaws after his capture at the archery contest and attempting to get a message to him about the plot to kill King Richard.

This role of the independently willed Marian would be taken up thirteen years later by a young maid who grew up playing amidst the leafy glades of Sherwood Forest. Joan Rice (1930-1997), only recently propelled into the glittering world of stardom, was personally chosen by Walt Disney to play the part of the outlaw's lover in his Story of Robin Hood."


Joan Rice as Marian and Richard Todd as Robin Hood

Sherron Lux in her paper And The 'Reel' Maid Marian, gives Joan's 'Marian' some far-overdue credit:

"Joan Rice is vital to Ken Annakin’s 1952 film for Walt Disney, misleadingly called The Story of Robin Hood and His Merrie Men; it is Marian’s story, as well, because without her, only about half the story would be left. Joan Rice gives us a bright, spunky young Lady Marian, faithful daughter of the Earl of Huntingdon, and loyal friend to her childhood companion Robin Fitzooth (Richard Todd); though he is the son of her fathers head forester, she eventually falls in love with him despite the social barriers. However, Rice’s Marian has a distinctly independent turn of mind. She defies the Queen Mother’s orders and slips out of the castle disguised in a page-boy’s livery, seeking out her friend Robin, who has become an outlaw in Sherwood Forest. Her actions ultimately help prove that Robin and his outlaws are King Richard’s real friends and that Prince John is a traitor."  

Joan Rice will always be my favourite Maid Marian.



Richard Todd as Robin Hood and Joan Rice as Maid Marian

My comparison of The Adventures of Robin Hood and The Story of Robin Hood was always going to be subjective. But I feel it is about time Walt Disney's version was brought out of the shadows, dusted down and given some rightful praise. To describe The Story as 'lacking any imaginative cinematic quality' is an affront not only to the rich cast of actors who appeared but also to Disney's multi-talented production crew who produced what critics describe as one of the best Technicolor films ever made in Britain. Watch it and see for yourself!



Production Memorabilia 3

Prop and Set-Dressing List

These are the final images available of the production notes for Walt Disney’s Story of Robin Hood and his Merrie Men, made in England in 1951. The folder, containing many pages of fascinating detail has recently been sold at auction.

Above is a page from the Prop and Set-Dressing List, showing details from what appears to be the scene of King Richard’s departure for the Holy Land. Included with the main characters are 20 foresters, 15 bill or axe men, 2 acolytes with sensors, 15 crossbowmen etc.


Prop and set-dressing list

The next image (above) appears to be a continuation of the list, which includes, 21 bows for the bowmen, 15 crossbows, 15 quivers, a charger for King Richard and the Earl of Huntingdon, and the banner of England on a staff.

Patrick Barr (King Richard I) with some of the props



Robin Hood’s Costume

Above are details of Robin Hood’s costume, worn by Richard Todd who starred as the outlaw hero. Richard would have reached his 100th birthday last June.


Richard Todd as Robin Hood

Listed is his legendary bugle horn, green cloth hood, green cloth kirtle, short boots of soft brown basel and quiver and bow.


Short Bio on Richard Todd

On this page, we can view the short bio on Richard Todd. It describes how three years before his selection for the role by Disney, he had been an unknown repertory player. He had founded the Dundee Repertory Company and after his demobilisation from the Parachute Regiment he had been discovered in London by a director of Association British and given a contract. His first film was “ For Them That Trespass,” which so impressed the executives of the production company he was given the key role in “ The Hasty Heart,” alongside Ronald Reagan and Patricia Neal.



These glimpses of the production notes from the making of this wonderful film, have been a real treat. Many thanks to John Nelson for sending them in.

More Production Memorabilia from Robin Hood

Various costumes


This is my second post about a collection of production memorabilia, recently auctioned, from Walt Disney’s live action motion picture the Story of Robin Hood and his Merrie Men. It was the last big-budget film to be made at Denham Studios in Buckinghamshire, England, in 1951. We have seen on this website, the amount of research into the making of this movie and this is yet another example of the Disney production crew's huge attention to detail.


Various props

If you click on the labels Behind the Camera and Film Production you will find many pages dedicated to the research and making of this Technicolor masterpiece. Down the years, I have posted about the discovery of the original script, also the unique short film The Riddle of Robin Hood, (which showed the creative process during the making of the movie) and even Disney’s memo about the choice of Maid Marian’s costume. There is so much on this website about this almost forgotten film.


The design of Nottingham Castle

Regular readers of this blog will have also seen my many articles about Carmen Dillon. She was the award winning head of Walt Disney’s Art and Design Department and these documents (above) would have definitely passed through her hands. So many thanks to John Nelson for making me aware of this fascinating collection. More soon.

Production Memorabilia of Robin Hood

Research Material for Robin Hood

I missed the auction! Although I could never have afforded the final figure of £250. It was for a collection of research material for Walt Disney’s live-action Story of Robin Hood and his Merrie Men, which was made in England in 1951 and released in 1952.

A huge thank you to John Nelson for making me aware of this sale. It is a fantastic piece of - not only film memorabilia -  but also a remarkable glimpse into the research and preparation of this wonderful movie.


Some of the 30 pages of notes

Unfortunately some of the images are unclear and it it is difficult to read the notes in pencil. It is very frustrating. Perhaps the new owner of this goldmine of information, will read this blog post and share some of the detail!


Designs of medieval belt pouches

I will be posting some more images of this fascinating collection soon.

Behind the Scenes at Denham Studios

Anthony Eustrel, Patrick Barr and Walt Disney

Once again I am indebted to Neil Vessey for sending me yet more rare pictures of the making of Walt Disney's Story of Robin Hood and his Merrie Men (1952). Neil has kindly scanned these images from the Picture Show Annual of 1953. Above we can see Anthony Eustrel in costume as the Archbishop of Canterbury, Patrick Barr as King Richard the Lionheart with Walt Disney, during the filming of Robin Hood at Denham Studios.

In July 1951, just as his cartoon version of Alice in Wonderland  was released in America, Walt Disney visited England with his wife Lilian and his daughters, to supervise the production of his second live-action movie.


Ken Annakin with Perce Pearce

In the second image (above) we can see Ken Annakin (1914-2009) the director of this wonderful film with Perce Pearce (1899-1955). Pearce was chosen by Disney to supervise and produce his early film productions in England, including Treasure Island, The Sword and the Rose, Rob Roy the Highland Rogue and of course The Story of Robin Hood and his Merrie Men.

To read more about the making of Robin Hood at Denham Studios and the wonderful cast of actors that appeared in this Technicolor masterpiece, please click on the relevant labels.



Behind the Scenes at Denham Studios

Filming the final scene at Denham Studios of Robin Hood

Many of us have often wished to be at Denham Studios during the filming of The Story of Robin Hood and his Merrie Men in 1951. Well - at least this incredibly detailed photograph (above), goes somewhere to fulfilling our wishes. It has been sent in by our regular contributor -Neil.

We can see Joan Rice (Maid Marian) hugging Robin Hood (Richard Todd) shortly after he has been made the Earl of Locksley by the returning King Richard the Lionheart. To see our picture strip of this scene, please click here.

Detail - showing Joan Rice, Richard Todd, James Hayter and Ken Annakin


Many of the production crew are visible in this remarkable image, including director Ken Annakin, standing alongside James Hayter (Friar Tuck). Also several of the 'outlaws', including Ewen Solon. Notice also, the huge Technicolor camera, which is possibly being operated by the director of photography, Guy Green.

Neil says:
"That is the Studio scene at Denham showing the filming towards the end  in Robin Hood’s Camp – but this is the original photograph and absolutely crystal clear  whereas we will both have seen this one in a smaller less clear version – I think from the Old Monrovians visit there at the time.

I think this scene would be filmed at the end of July 1951  - and I have a feeling that we would be on our holidays in St.Albans at  that time - so as a small boy with my parents and brothers, would have been passing the Denham Studios at that very moment

The other picture with Walt Disney, Richard Todd and Elton Hayes, we have seen before – but again this is a bigger clearer one.

I am so happy with these. Please use them on your site if you wish."
Neil 

In the second picture that Neil has kindly sent, we can see Walt Disney on the Nottingham Castle set, during his visit to Denham Studios in June 1951. Alongside him is Elton Hayes (as the minstrel Allan-a-Dale) and Richard Todd (Robin Hood ‘disguised as a soldier of the Sheriff’). 

In his autobiography (Caught in the Act, Hutchinson 1986), Richard Todd describes the ‘solid’ dungeon walls as being constructed of pure wood and plaster.


Elton Hayes (Allan-a-Dale), Walt Disney and Richard Todd (Robin Hood)

Filming of Walt Disney’s Story of Robin Hood and his Merrie Men began on 30th April 1951. Ken Annakin, the director of the movie, in his autobiography (So You Wanna Be a Director, Tomahawk 2001) says that 10 weeks into shooting, Disney made a surprise visit to the set. Annakin describes how the great man had photos taken with the stars of the film in the Nottingham Square set on the lot. This also included ‘numerous’ pictures with Joan Rice (Maid Marian) on the archery field.

This fits with Richard Todd's (Robin Hood) memoirs where he describes Disney coming over from London to Denham near the end of June 1951 and how he was thoroughly pleased with the way things were going.

Coinciding with Walt’s stopover, the then Princess Elizabeth (later Queen Elizabeth II) paid a visit to the Denham Studios, accompanied only by her lady-in-waiting and equerry. The future queen was shown by Walt Disney and the art director Carmen Dillon around the outside sets and the costume department. Perce Pearce, the producer of Walt Disney’s Robin Hood, insisted that filming should continue as normal as that is what the young princess wanted to see. So for about twenty minutes she stood quietly in a dark corner, while production carried on, then gave a friendly wave and slipped out of the stage. I wonder what scene it was she saw being filmed?

To read more about the production of the film, Walt Disney, or see the picture gallery please click on the labels in the side bar.

A huge thank you to Neil for sending these images.

Disney's Robin Hood Script 3


Richard Todd as Robin and Joan Rice as Marian

Below is another page from the script of Walt Disney's Story of Robin Hood and his Merrie Men which was filmed at Denham Studios and Burnahm Beeches in Buckinghamshire in 1951. The script was originally owned by Noland Blackburn, who worked for Walt Disney Productions during the 1950's. 


Robin describes his 'fair maiden'

I have featured a few pages from this script recently. The page above, shows an early scene in the movie in which Robin Hood (Richard Todd) teases Maid Marian (Joan Rice). But we can see that some of Marian's dialogue was eventually changed. The original script had her saying:

"Chop off infidel heads enough, you'd come back a knight. Forthwith, you'd be scrimaging in a tournament - - to please a lady - - and have your own head chopped of."

But those who have seen the film will know that this was later changed, so that Marian said:

" Chop off enough heads; you will come back a knight. As a knight, you would go jousting in a tournament, to please a lady, and have you own head chopped off!"


Joan Rice as Marian going through the script with Director Ken Annakin

In his memo, Walt Disney describes Joan Rice's difficulties with the dialogue. The director, Ken Annakin went into great detail in his autobiography about the problems he had with her; how he had to slavishly go over the script with her word for word. But it is worth mentioning, that she had been rushed through the ‘Rank Charm School’ a year earlier and that she had no experience in acting beforehand.

Joan Rice (Marian) and Richard Todd Robin Hood) during a break from filming

That page also shows that the original script had Robin holding out his hand 'a foot above Marian's head', showing how much taller his imaginary 'fair maiden' was. This was also eventually cut from the movie.


Joan Rice's costume is adjusted before filming

Below is a section of a picture strip that shows that scene with Robin and Marian.








Joan Rice on set as Maid Marian

To see the whole movie in picture strip form, or read about the lives of Richard Todd and Joan Rice, just click on the relevant label in the task bar.

Special thanks to Cindy for sharing images of the script.

Disney's Robin Hood Script 2

Noland's Disney employee card

Those of you that have read my recent blog post, Disney's Robin Hood Script, will know of my excitement at seeing such a treasured item. Cindy has since, sent some more images, including the original employees identification card for Walt Disney Productions, once owned by her father-in-law, Noland Blackburn (above).


Reverse of Noland's employee card

Noland Philip Blackburn worked for Walt Disney during the 1950's and it is through the kindness of his daughter-in-law Cindy, that we are able to see pages from the original film script of The Story of Robin Hood (1952).


Robin (Richard Todd) looks for the assailant

Below is a page from the script describing the scene where Robin Hood's father is shot in the back by Red Gill, played by Archie Duncan.


Robin's father is shot by the assailant.

The original script describes the assailant and Robin both stalking each other and crawling 'in a circle through the brush.' These scenes were obviously later cut from the movie.


Robin kills that assailant - Red Gill.


Detail of the script 

Below is a couple of pages from Laurence's fabulous Picture Strip that show images of those scenes that were finally used in the movie. 





To see the whole of Walt Disney's Story of Robin Hood and his Merrie Men in this picture strip, please click here.



The final scene

I featured the page above in my last edition. This is the final scene where Robin Hood hugs Marian in front of King Richard and the outlaws. But this time the script is accompanied with a rare photograph taken in the studio at Denham as they filmed that exact same scene (below).


Marian (Joan Rice) hugs Robin (Richard Todd) in Denham Studios


Joan Rice as Marian and Richard Todd as Robin Hood


Once again many thanks to Cindy.