Robin Hood (1973) - EOFFTV - The Encyclopedia of Fantastic Film and Television

USA, 1971
83m
35mm film, colour, 1.75:1
mono, English

An American animated fantasy film directed by Wolfgang Reitherman. Production was originally set to begin on 1 September 1971 ¹ but was delayed until 4 January 1972 ²

Plot Summary

The story of Robin Hood retold with animals.

Credits

Crew
Directed by: Wolfgang Reitherman
Â© 1973. Walt Disney Productions
Walt Disney Productions presents. Walt Disney Productions
Produced by: Wolfgang Reitherman
Story by: Larry Clemmons
Story Sequences: Ken Anderson, Vance Gerry, Frank Thomas, Eric Cleworth, Julius Svendsen, Dave Michener
Based on Character/Story Concepts by: Ken Anderson
Directing Animators: Milt Kahl, Ollie Johnston, Frank Thomas, John Lounsbery
Character Animation: Hal King, Eric Larson, Art Stevens, Don Bluth, Cliff Nordberg, Dale Baer, Burny Mattinson, Fred Hellmich
Director of Photography:
Film Editors: Tom Acosta, Jim Melton
Music: George Bruns
Sound: Herb Taylor
Art Director: Don Griffith

Voices
Roger Miller (Allan-a-Dale)
Peter Ustinov (Prince John)
Terry-Thomas (Sir Hiss)
Brian Bedford (Robin Hood)
Monica Evans (Maid Marian)
Phil Harris (Little John)
Andy Devine (Friar Tuck)
Carole Shelley (Lady Kluck)
Pat Buttram (Sheriff of Nottingham)
George Lindsey (Trigger)
Ken Curtis (Nutsy)

Alternative Titles

O Roben ton dason – Greek title
Robin des bois – French title
Robin dos Bosques – Portuguese title
Robin Hud – Serbian title

Production Notes

Production
Filming began on 4 January 1972 ³

Press

1973
Daily Variety vol.161 no.41 (2 November 1973) pp.2, 8
Robin Hood, four years in the making, is a return by Walt Disney Prods, to a phantasmagoria of sight gags of the type that helped make the late producer famous as a master of animation production. A natural as an animation subject (one wonders why Disney made the English folklore hero first as a live-action feature – The Story of Robin Hood and His Merrie Men starring Richard Todd In 1952 – before setting his imaginative and think-tank artiste on the job), the current outing carries the usual Disney brand of entertainment for all ages. There is a difference, however, in how the folklore characters are handled. New version does a bit of switching and is told “as seen through the eyes of the animals of Sherwood Forest, who knew Robin best.” Such a unique twist of casting characters in animal counterparts allows full parade of all the Disney ingenuity in limning beasties at work and play and plotting. Not only do the characters seem perfectly cast in their animal clothing but the voices hit the bell, too, equally as fascinating as the action and bits of business. […] Art work and animation, of course, are up to usual Disney par with highest credit going to entire company who worked on film.” – from a review by Whit Whit.

1974
CinemaTV Today no.10064 (7 January 1974) p.8
Substance without shadow, light without shade. In other words, lotsa laffs for the kids but no magic. The story line is episodic to a degree; some episodes achieve greatness, others have banality thrust upon them in the shape of twee characters only a besotted mother could love. Fortunately, there are some splendid episodes. King John and Sir Hiss are superb creations, genuine Disney originals. Lady Cluck, Little John and the strutting rooster minstrel come alive as gutsy characters, ad a host of eccentric “extras” fill the screen with jolly antics. – from a review (The new films by Marjorie Bilbow)

Monthly Film Bulletin vol.41 no.480 (January 1974) p.13
Dramatic and visual conflict is minimised, the Robin Hood legend absurdly embellished (Richard, for instance, is mesmerised into undertaking his crusade) and the piece enacted by a wildly unlikely cast of cute animals, all freely plagiarised from past productions. […] Occasionally Robin Hood recalls better days at Disney, notably in a gloomy church sequence where Tuck tolls the bell for a non-existent congregation and his sexton, a mouse dressed bafflingly in what looks like the costume of a French justice, plays a glum organ voluntary. But for the most part the film is as bland and one-dimensional as the product of less sophisticated studios; and except for Peter Ustinov's plummy Prince John, the voice characterisations are as insipid as the animation is unoriginal. – from a review by John Baxter

References

Periodicals

CinemaTV Today no.10064 (7 January 1974) p.8 – credits, review (The new films by Marjorie Bilbow)
Daily Variety 17 November 1972 p.10 – credits, production start date (Film production chart)
Daily Variety 2 November 1973 pp.2, 8 – credits, review (by Whit)
Films and Filming vol.20 no.4 (January 1974) pp.44-45 – review
The Hollywood Reporter vol.228 no.38 (2 November 1973) p.3 – credits, review
Monthly Film Bulletin vol.41 no.480 (January 1974) p.13 – credits, synopsis, review (by John Baxter)
Variety vol.264 no.31 (September 1971) p.20 – credits (Hollywood production pulse)

Books

Reference Guide to Fantastic Films by Walt Lee p.406 – credits