Reviews (11)

Probably the best silent fantasy picture made in the U.S.
At the time of its release, Thief of Bagdad, was the most expensive and most elaborate film created. It involved enormous sets and special effects which would be rivaled for years. The story has it all: action, adventure, love, and friendship. And it tells it all on a grand scale which can still be impressive 70+ years later.

Douglas Fairbanks, Sr., plays the Thief in an extremely sensual (though, not overtly sexual) way. He is very physically agile and innovative as he meanders through the streets of Bagdad using his wits to take what he wants with a minimum of effort.

The set designs for the film were done by William Cameron Menzies (sp?) and appear almost as pen and ink drawings in the black and white film. They make you feel as if you have entered a story book telling you of the Thief and his love for the Princess.

This DVD version has a nice organ accompaniment. It would be nicer to have the version which was released on LD with a full symphony performing Rimsky-Korsokov's Arabian Nights music. The music, tinting and introduction by Fairbanks' son made that the *definitive* version of the film for me.

Thief of Bagdad (Deluxe Edition) from Kino
Douglas Fairbanks' "The Thief of Bagdad" is in the public domain, so it's no surprise that there are many DVD and VHS versions of this film available, from bargain basement tapes with no music taken from battered source prints, to high-quality editions with fine music and extras. (Many of the reviews given here are for different editions, so if they complain about the video transfer, missing scenes, or the musical score, keep in mind that such comments don't apply to all editions.)

The Kino "Deluxe Edition" is digitally mastered from a 35mm archive negative, with 19 minutes of rare outtakes and special effects footage as extras. The film is tinted throughout -- a color effect that was used on its initial release, and which adds greatly to the fantastic nature of the story and its immense sets.

The new score by the Mont Alto Motion Picture Orchestra (a quintet that specializes in reviving music used during the silent film era) is based loosely on the original "cue sheet" for the film by James Bradford. This means that you'll be hearing some of the music recommended for the film on its first release (although the music would have been different in each theater--silent film music was left up to the music director at each movie house). The music features many "oriental" pieces written for the silent film theater by forgotten "photoplay music" composers such as Gaston Borch and Irenee Berge, as well as pieces by classical composers like Rimsky-Korsakov who explored oriental themes. A written commentary and cue list of the music used is on the DVD as an extra, and can also be found at Mont Alto's web site, www.mont-alto.com.

A different high-quality edition from Image Entertainment features an organ score by Gaylord Carter, who was a talented theater organist, and that's also a good choice. Be wary of other editions -- it's an amazing film, and the extra money spent for a quality visual and audio treat is well worth it. The difference in run-time between the Kino and Image editions of the film is mostly explained by a different film transfer rate.

ANOTHER GREAT FAIRBANKS CLASSIC
first, hats off to Kino for releasing all these great, old Daouglas Fairbanks Sr. Classics on DVD. They have done a fantastic job and the Thief of Baghdad shows agains why Fairbanks was the master of the Swashbuckler.As the thief of Baghdad, his movements are dance-like -- nothing like the athletics he performed in most of his other films. In this Arabian take, the thief ignores the holy teachings and sneaks into the palace of the Caliph (Brandon Hurst). All thoughts of robbery slip away, however, when he sees the beautiful princess (Julianne Johnston). Princes have come from many faraway lands to win the princess' hand (and it's amusing to watch her face growing ever more alarmed at their arrival, because each one is uglier than the last). The thief disguises himself as a prince and the princess falls in love with him. After having a pang of conscience the thief confesses all to the Holy Man (Charles Belcher), who sends him to find a magic chest. He braves many obstacles to get it, and when he returns he discovers that the Mongol Prince (So-Jin) has taken over the city. Using the chest, the reformed thief creates armies of men out of nothingness and recaptures the city. He then uses the cloak of invisibility to spirit the princess away on a magic carpet. Fairbanks stole some of the special effects for his film from Fritz Lang's Der Mude Tod, which he had purchased for American distribution.

Thief of Baghdad, with its look of unrealistic beauty (courtesy of art director William Cameron Menzies), was not fully appreciated in its day. Because of its huge cost ($2 million -- a real fortune in those days), it made little money.

A true Silent Classic!

It's Cut?
Some one here says this DVD has a cut down version of the film. I was going to say, if you have never seen it, it's one of the Classics of the Silent era and Fairbanks. One thing I might add that will completly change the way you percieve this film... Think Gene Kelly. Don't think about Fairbanks as an Actor, think about him as a Dancer and suddenly this film becomes a whole other kind of experiance. I'd hate to see any footage missing from this Master Work of one of the Silent Eras greatest stars. If this version is indeed cut down, go look for the complete version, and one that isn't running at Sound Speed too.

Not bad for an older movie
I am not going to give a long lecture cause if you haven't seen it yet well then you don't know what your missing. ... It is very well paced not lagging to much, like some movies do. With a great story line and filled with action, good characters and the fight for good verses evil this movie is a must see. ... Read more

Amazon.com essential video

Robin Hood was a dream project for dashing Douglas Fairbanks and he brought the full resources of his studio to the film, building the largest standing set ever for Prince John's magnificent castle and filling open plains with thousands of extras. The sense of scale still awes audiences, yet none of it detracts from the vigorous presence of Fairbanks, a hearty hero with grace, gymnastic prowess, and a sense of humor as big as Sherwood Forest. It takes some time for this first incarnation of the great bandit hero to get started--the first hour is a little slow as it establishes the conflict between Prince John and the Earl of Huntington (Fairbanks) in moody scenes inside the dark, torch-lit castle. But when the disenfranchised Earl transforms into forest warrior Robin Hood with a gazelle-like entrance, the film becomes a sweeping adventure classic full of swordfights, jousts, larger-than-life stunts, and Fairbanks's brand of jaunty heroism. Allan Dwan balances the enormous sense of scale with scenes of intimacy and quiet, all realized in a rich black-and-white palette of contrastsboth bold and delicate. Wallace Beery costars as Richard the Lionhearted with Fairbanks favorite Sam De Grasse as the villainous Prince John and Alan Hale as Robin's faithful squire turned comrade in arms Little John, a role he also played in the famous Errol Flynn remake of 1938. Fairbanks fans each have their favorites, but all agree than none is as magnificent as RobinHood. --Sean Axmaker ... Read more

Reviews (8)

OUTSTANDING, SILENT VERSION
Before Costner, before Flynn, there was Douglas Fairbanks Sr., playing the classic Robin Hood role. Even over 80 years later this film stands the test of time.

Had it been made only a few decades later, with sound and in colour, it could have been one of the greatest Robin Hood films. Unfortunately, black and white films, and silents more than anything else, do not find great favour among the modern public. But regardless of these dated elements, "Robin Hood" does not look bad at all.

The story starts a bit earlier than the usual Robin Hood film. It begins on the eve of King Richard the Lionheart's (Wallace Beery) departure for the Crusades. To celebrate the occasion, Richard holds a tournament, and in the final round, the King's champion, the Earl of Huntingdon (Douglas Fairbanks, later Robin Hood) wins over Prince John's champion, Sir Guy of Gisbourne. Before his departure, the Earl falls in love with the Lady Marian Fitzwalter, but Gisbourne is jealous. Prince John makes a deal with the latter, saying that if Gisbourne goes to the Crusades and kills both the King and Huntingdon, John will arrange that the Lady Marian be forced to marry Sir Guy.

Immediately after King Richard's departure for the Crusades, Prince John assumes authority and becomes cruel towards the population of England. Marian succeeds in sending a message to the Earl while he is in France, asking him to return. The message-carrier is Little John (Alan Hale, who would play this part again in the 1938 version starring Errol Flynn). The Earl demands to return to England at once, but when Richard refuses, he tries to desert. He is arrested, put a local jail, and after the other troops have moved on, he escapes and returns to England with Little John. Noticing the cruelty of Prince John, the Earl decides to become an outlaw under the name of Robin Hood. Thus, the legend begins...

Douglas Fairbanks is magnificent as Robin Hood, a role that every swashbuckler has to play once in his career. Although Robin Hood himself (instead of the Earl) appears only after the first hour of the film, his leaping around, swordplay and natural charisma make of Fairbanks's performance as Robin Hood one of the best in the history of cinema.

The sets and costumes are probably the most magnificent ever used in a Robin Hood film. The castle of King Richard (and consequently of Prince John) is indeed breathtaking, even by the standards of today. The height of the castle walls, with no apparent end to them, is very impressive. The Knights' armor and shields are very realistically portrayed as well, and the film still comes across with a strong feeling of historical accuracy. And for once, King Richard is not portrayed as an aging man with a grey beard when he was in fact 32 years old at the start of the Third Crusade.

The photography, considering the year it was made, is amazing. The scenes in the castle mentioned above are great, and so are other individual scenes, such as the Earl, returning to England, swearing, with his sword raised in the air, to act for God, Richard, and Marian (who at that point in the film is presumed dead). The photography combined with editing creates some very successful moments, such as the joust between the Earl and Sir Guy, and the taking of Nottingham by Robin Hood. In spite of the well-known nature of the Robin Hood legend (at least that part), there are some suspenseful moments, such as the final fight, because of the excellent direction by Allan Dwan, editing, photography, and the script (also written by Fairbanks under a pseudonym). The final result is a Robin Hood story of epic proportions, but with a heartwarming romance at its core.

A few down notes: First, the tinted frames. Before the arrival of colour, frames were tinted to convey a particular atmosphere (blue, for instance, was inevitably used for the night scenes). In "Robin Hood", most, if not all, of the film is tinted one colour or another. The scenes in Sherwood Forest are of course green. But the colours are too intense, and rather than convey a particular atmosphere, the tinted frames are just annoying for the eye. Fairbanks must nevertheless be thanked for his later support of colour at a time when studios were unwilling to take a risk on the matter. His "Black Pirate" (1926), filmed in two-strip Technicolor, was groundbreaking, but in 1922 colour was still at a very primitive and experimental stage.

Second, the musical score. In silent films as in today's movies, music is important to set the mood of the picture. The version I watched had the original score by Victor Schertzinger, but it is not as good as it should have been. There are a few good moments in the musical score, but these are generally a ripoff from a then well-known but now obscure Reginald De Koven - Harry B. Smith operetta, "Robin Hood", which premiered in 1890. The rest is rather bland, with very few memorable passages. The quality of the recording itself leaves to be desired, since it often sounds like a MIDI file.

Douglas Fairbanks's "Robin Hood" may be dated in several respects, and the first part may be slow, but it still maintains tremendous appeal. The narrative, the sets, and of course Fairbanks's masterly performance in the title role still give this film a lot of entertainment value. It is a prime example of Hollywood's output during its first "Golden Age", and it remains a must see for Robin Hood fans.

Highly recommended!

A Blockbuster of its day...
Ah, a budget of $1 million. It sounds so small today when there are films with budgets topping $200 million. But back in 1922, this was the most expensive movie made. And it's clear where the money has gone. Lush sets, huge castles created just for this movie (with special tapestries, hand and foot holds, etc. to allow Fairbanks to show off his stuntman's prowess.) And then the extras. In one of the earliest ballads, Robin Hood had a band of 140 men. Here, there are far, far more. And no digitally extras either. Just low-paid (or more likely, no-paid) folks prancing around.

Yes, prancing. Sigh.

The Merry Men skip and jump, with little edge that outlaws would have. Not so with Fairbanks successor Errol Flynn, as charismatic and righteous as that Robin Hood was, there was a real sense of anger at the problems being inflicted on the poor. This earlier (although not the first) Robin Hood movie is much lighter fare.

The story is only threadbare. And only a few scenes from the ballads appear. Instead, half the film is taken up with jousting matches and other things which seem out of place in a Robin Hood film. Like modern-day blockbusters, it's big on spectacle and low on plot and character.

It's a classic, but it doesn't grab me the way Flynn's Robin Hood does. It lacks the heart and soul.

Now, onto the DVD quality. The image is surprisingly good for an 80-year old film. And they've gone with the colour-tinting process. Forest scenes, for example, are tinted green. That adds a warmth to the film lacking in its characters.

Unfortunately, the sound isn't as good. The score is electronic and very noticeably so. And it sounds more like an electronic kazoo than a real piano or organ as it should be. That is very distracting. Which is unfortunate, because the score itself is adapted from the 1890s Robin Hood stage musical composed by Reginald de Koven (this production introduced the wedding song "O Promise Me"). It would have been nice to hear a less synthetic version of de Koven's score.

So, riddle me this -- why is this film on DVD and not the 1938 Adventures of Robin Hood starring Errol Flynn? (And while its nice to see Fairbanks turn as Robin Hood and Zorro on DVD, I'd really like to own the Flynn and Tyrone Powers versions of those films.)

50% Ivanhoe, 50% Robin Hood
This is arguably the lushest version of Robin Hood (although the Flynn classic is in the running) with enormous sets(some of the biggest ever made), lavish costumes and big stars. However, the name is a bit misleading. The movie is 2 hours long and Robin Hood doesn't show up until exactly half way into it. Before that, he is the Earl of Huntingdon who wears armor and prefers lance to longbow. In fact, the entire first half takes after the Scott novel Ivanhoe much more than the Robin Hood legend. If you know this before going in, you will enjoy the movie more. I kept waiting for Fairbanks to start the Robin Hood stunts.

Enid Bennett is a pretty leading lady and wears her gowns with flair. Wallace Beery is a boisterous King Richard. (both also appeared in the silent epic the Sea Hawk, perhaps the best silent costume drama ever made and sadly unavailable for purchase)Sam de Grasse is an understated but insidious Prince John. Alan Hale plays Little John, a role he reprised for the 1938 Flynn version of Robin Hood.

The plot involves Fairbanks being framed for desertation on the way to the Crusades, returning to England and becoming the bandit we all know and love. Once Fairbanks gets into his feathered cap and gets a bow the movie picks up considerably. He leaps, dances, prances and generally becomes a proper Robin. But before this is an hour of courtly love and stately processions.

This is a good vehicle for Fairbanks but I think it could have been one of his best if it had more of the title character. But then, I suppose if I had one of the most opulent sets ever made at my disposal, I might show it off a bit too.

How to crumble a classic....
"Douglas Fairbanks' Robin Hood" is one of the greatest adventure films the cinema has ever produced.
It no longer exists in a pristine version, so I'm afraid this is the best way to watch it, and although any company that produces DVDs of silent films should be applauded this disc should be approached with some caution.
The reason is the score. I hate synth scores on silent films. Firstly it is totally out of place to stick an electronic soundtrack on an old film - but here it really is unacceptable. The recording of the score is so irritating and twee it cheapens the film. Robin Hood screams out for a full orchestral score, not a tinny electronic beat that sounds like a cheap Casio keyboard.
Fair enough, points can be made for cost etc. but the simple fact remains - would you pay good money to see Gone With the Wind or Titanic with a cheesy synth score? Although the film itself would remain the same, so much of the power and passion would be destroyed when the score is replaced. Would Jaws or even Psycho have anything near the same effect if you stuck the Backstreet Boys over the shower scene?
The same goes for silent films, perhaps more so. To watch the Brownlow and Gill restoration of Fairbanks' Thief of Bagdad is to watch a beautiful classic of the silent screen with a perfect score conducted by Carl Davis. To watch the same film with a syth or organ score is to see half the film. It looks exactly the same - but loses so much sweep and power.
Get the DVD, switch the sound off and stick on a suitable CD. The film is improved hugely. (By the way, using public domain classical recordings is the easiest and cheapest way to get a decent score - if any DVD producers are reading this...)

Great movie but so far away from the true Robin Hood
In response to someone elses comment about the role of Marian, I just needed to point out that in the original ballad of Robin Hood and Maid Marian - they are lovers and she cross-dresses as a boy. Not recognizing one another, they sword fight for hours until she finally bests him (so much for your theories on medieval women). Once they recognize one another, they reinitiate their affair. Also, in the may games - Marian is basically a "free" woman. She is characterized as a wagger of ballocks/and a tearer of sheses [sheets]. As you can see, these later interpretations are extremely patriarchal and reflect a Victorian view - not a medieval one. ... Read more

Reviews (7)

ANOTHER FAIRBANKS SILENT CLASSIC
Doug was at his Peak in this silent version of "The Mark of Zorro". Fairbanks provides the audience with an electrifying performance as Zorro, and from it, very few people would guess that it was his first venture into the swashbuckling genre, as his swordplay seems as assured as in his later films. Fairbanks is also excellent as Don Diego, drawing upon his experience in comedy to bring us a vivid portrait of a not so vivid man. Noah Beery gives a delightfully over-the-top performance as the bombastic yet bumbling Sergeant Gonzales. Robert McKim is splendid as the real villain of the film, Captain Ramon, and the final fight with Don Diego/Zorro is a pleasure to look at. Marguerite de la Motte is well cast as the frail and gentle Lolita Pulido.

In general, "The Mark of Zorro" is an entertaining, if dated film, which provided Fairbanks with an opportunity to bring a change to his career, as he would focus on big-budget swashbucklers following the success on this film. Fairbanks refined the character which McCulley created, providing audiences with the first visual representation of this pulp fiction masked outlaw. Every Zorro film made afterwards would be influenced by Fairbanks's portrayal. Because of this, "The Mark of Zorro" has acquired a historical significance in the creation of what has become since then a Latin-American cultural icon. Recommended.

One of the better silent movies.
While not as good as, say, Buster Keaton's The General, this is the best of the silent Zorro films. Buy the DVD that has both The Mark of Zorro and Don Q, Son of Zorro from King Video. "Mark" is entertaining, "Don Q" is even better. The original music by Jon C. Mirsalis for the two films is excellent.

Have u seen this 1? Buckle all your swaches
amzing. doug can jump like noone else before or since. a few chase sequences to rival buster.
zorro is excellent filmmaking. It starts with a soldier with a z on his face explaining it's not his fault.For 16 minutes zorro remains offscreen. When he does finally appear it's really cool.
don q, son of zorro, is even more amazing. Five years after zorro and doug looks even more athletic.The plot is far more complicated, but better than zorro. I'll never look at Mary Astor in Maltese Falcon the same way agin. She's breathtaking.
Score is excellent. If you like Errol and Ty and later swordsmen get this one.

Fairbanks in Fine Form
Although Kino makes no boast about print quality on the box, its print of MARK OF ZORRO seems to be from an excellent 35 mm source. This film is the first, and many say the best, of Doug Fairbanks' swashbucklers that he personally financed and produced during the 1920s. His subsequent films were more elaborate - he seemed to rival DeMille in epic production quality - but ZORRO is the most consistently energetic. Fairbanks remains in a class by himself as a superstar and he became a multi-millionaire by acting out his daydreams in films. That's nice work if you can get it!

DON Q, SON OF ZORRO is almost as good but bogs down here and there in story complications. The print quality and contrast is not as good as ZORRO and I suspect that DON Q comes from a 16 mm. print. The five years between the two films show Fairbanks' reputation as a producer having grown: DON Q looks as though it costs four times what MARK OF ZORRO cost. Jon Mirsalis' piano score is very qood and he captures everything that silent film accompaniment should be: melodic and never intrusive.

The bonus material is interesting but I wonder why KINO didn't include the five minutes or so of outtakes from DON Q that has been in circulation for years. The unidentified sound film excerpt of Fairbanks included with Orson Welles' introduction is from the 1931 talkie, REACHING FOR THE MOON. Even in the excerpt, Fairbanks seems rather constrained by the dialogue chores. When he enters a room by vaulting through the window, he lands with a "thump," showing why sound films would rob Fairbanks of the illusion of effortless agility so wonderfully masked in his silent films. Three chapters from his 1918 motivational book, Making Life Worthwhile, are included. Some say the book and others published during that time were ghostwritten for Fairbanks. In any event, I've wondered why he had nothing to say to the public during the years of the Great Depression in the 1930s when people really needed a boost.

I highly recommend this dvd as a superb example of energetic silent filmmaking and for the joy of experiencing the inimitable Doug Fairbanks personality.

Great Fairbanks
The test of a great film has to be how a new generation views the film. A few months ago I heard my ten-year-old daughter laughing at something she was watching. I found she had slipped one of my laser discs on the player and was watching Charlie Chaplain's antics in The Gold Rush. I can't tell you how much pleasure it gave me to find my little girl enjoying one of my silent films, and without knowing the historical significance of Chaplain. I watched the rest of it with her. I discovered she most enjoyed Chaplain, Keaton, and Douglas Fairbank's The Mark Of Zorro.

Fairbanks made several great films after he stepped away from the comdedy roles he was doing, but The Mark Of Zorro remains the best one to introduce people to his silent films.

The transfer is very good as is the second film: Don Q Son Of Zorro. In Don Q Fairbanks plays Zorro and his son in a return to the legend five years after the release of The Mark Of Zorro and introduced the use of the whip. Watch how Doug flips that cigarette into his mouth. I don't believe I have to say much about the stories as most people know Zorro from the many incarnations over the years. Suffice to say these both have their share of Fairbank's famous acrobatics and both films are worth your time.

If you are interested in silent films this is a good place to start; if you are an aficionato of silent films you will not be disappointed. There is a bunch of other stuff on this DVD that make it well worth having. Enjoy! ... Read more

Reviews (4)

one of the top 5 greatest silent films
This is a magnificent film that has been overlooked for too long.It's Fairbank's shortest swashbuckler and this really helps.
The film just flies by and is not bogged down by too much pagentry or an inane love story. The brief wooing of Constance by D'Artagnan is adorable and the musketeers only "defeat" - though pure slapstick - is simply wonderful. There are other bits of comedy but this a is a very dark film. At the end, eight of the films ten leading characters have died and only one by natural causes Director Dwan has you really caring for Constance and the Musketeers and their deaths are very moving. And best if all is the conclusion - one of a handful of greatest in all film. Only the hardest soul could not shed tears yet feel the warmth as the four great friends go on to "greater adventure."

The Original Film with a Great Score
This is actually a new issue (for 2002) of The Iron Mask from Kino featuring a new print from the Museum of Modern Art and a score written by Carl Davis. Kevin Brownlow is one of the producers. There are two brief scenes where Douglas Fairbanks speaks to the audience that has been remastered for this version of the film. The print is flawless, and it was a pleasure to see such a loving restoration. Carl Davis does an excellent job with the score; it fits the mood of the film perfectly. Even if you have the older issue by Kino you will want to see this new edition, if nothing else, for the excellent music. Having seen the 1952 re-release of this film with spoken narration by Douglas Fairbanks Jr. I much prefer the film the way it was first presented. The narration, good as it may be, is more of a distraction and an accommodation to an audience used to sound pictures. Sorry to have to correct Amazon but Fairbanks was 46 when he made this film not 43. It had been eight years since he did The Three Musketeers.

With the many positive reviews already posted for this film all I can say is that it is well cast and acted and is a memorable farewell to the silent era by one of its brightest stars.

Doug's Last Great Film
The Iron Mask is Douglas Fairbanks's last great film. It is one of those rare birds, a sequel which improves on the original. The Three Musketeers is a fine film, a fun swashbuckling romp, but The Iron Mask has a better story and has a depth which the earlier film lacks. Fairbanks was coming to the end of his career when he made The Iron Mask and seems to have put everything into it. The sets and costumes look authentic, the extras are numerous and the cast are uniformly first rate. Nigel de Brulier reprises his role as the scheming Cardinal Richelieu. He is a good villain because he is not wholly malevolent. He is the enemy of D'Artagnan, but the two respect each other and behave towards each other honourably. Richelieu is cruel but it is the cruelty of the statesman who will do anything in the interest of the state. Marguerite de la Motte is, once again, the lovely Constance. Her romantic scenes with D'Artagnan show why he will go to any lengths to save her from Richelieu's plots. Fairbanks is his usual athletic self. He performs amazing stunts, all the more remarkable because he was nearly fifty when he made The Iron Mask. But Fairbanks's performance is not merely a matter of swordplay and gymnastics. His acting shows greater depth of emotion than in some of his earlier films. This story is at times poignant, but Fairbanks has the acting skills to be equal to the changes of mood. He is wonderful as the aging musketeer full of regret, saddened and chastened by life, but still willing to give his all for his King.

The print used for this Kino DVD is wonderful. It scarcely has a blemish and the black and white photography is shown in all its glory. There are two brief talking sequences in The Iron Mask one at the start and one half way through. There is thus the chance to hear Fairbanks talk. The sound crackles a bit, but is about as good as can be expected from the sound systems of 1929. The rest of the film has a fine orchestral score by Carl Davis. This sounds great and fits the action and the mood of the film very well. Davis uses Wagnerian themes as the film darkens its mood and his score really adds to the whole viewing experience. The DVD contains a good few extras. There are three sets of out-takes, which show how Fairbanks performed some of his stunts. It is extremely rare for out-takes from silent pictures to survive so we are fortunate indeed to be able to see these. Next there is a five-minute extract from the film with Douglas Fairbanks Junior providing narration. This is interesting, but shows most of all why narrating silents does not work. There is a collection of stills from the film and a good collection of informative essays. Altogether this is a very fine DVD of one of Fairbanks best films.

The Swan Song Of The Silent Film.
This has always been my favorite Douglas Fairbanks feature as well as one of my favorite silent films. It has everything. Comedy! Drama! Spectacle! Adventure! Pathos! And in this new restoration grand sweeping music from the John Williams of the silent film score, Carl Davis. For years this film was available in an abridged 1952 version with no intertitles and voiceover narration by Douglas Fairbanks Jr. or in an extremely worn out version from the Killiam Collection. Now Kino International in conjunction with the Museum of Modern Art and Britain's Photoplay Productions have given us this beautifully restored version of the original 1929 film complete with Fairbanks Sr's original spoken introduction and interlude. A fitting end to Doug's silent film career and to silent film itself as by the time this came out sound was here to stay and an art form that was born, developed and refined within the space of only 30 years perished. Of the many film adaptations of THE MAN IN THE IRON MASK, this one remains the most compelling. The DVD comes loaded with a number of bonus features including outtakes and a portion of the 1952 reissue. Needless to say an absolute must for the silent film or Douglas Fairbanks buff and an ideal introduction to the art of the silent film for those not familiar with it. Great for kids too. ... Read more

Reviews (11)

Probably the best silent fantasy picture made in the U.S.
At the time of its release, Thief of Bagdad, was the most expensive and most elaborate film created. It involved enormous sets and special effects which would be rivaled for years. The story has it all: action, adventure, love, and friendship. And it tells it all on a grand scale which can still be impressive 70+ years later.

Douglas Fairbanks, Sr., plays the Thief in an extremely sensual (though, not overtly sexual) way. He is very physically agile and innovative as he meanders through the streets of Bagdad using his wits to take what he wants with a minimum of effort.

The set designs for the film were done by William Cameron Menzies (sp?) and appear almost as pen and ink drawings in the black and white film. They make you feel as if you have entered a story book telling you of the Thief and his love for the Princess.

This DVD version has a nice organ accompaniment. It would be nicer to have the version which was released on LD with a full symphony performing Rimsky-Korsokov's Arabian Nights music. The music, tinting and introduction by Fairbanks' son made that the *definitive* version of the film for me.

Thief of Bagdad (Deluxe Edition) from Kino
Douglas Fairbanks' "The Thief of Bagdad" is in the public domain, so it's no surprise that there are many DVD and VHS versions of this film available, from bargain basement tapes with no music taken from battered source prints, to high-quality editions with fine music and extras. (Many of the reviews given here are for different editions, so if they complain about the video transfer, missing scenes, or the musical score, keep in mind that such comments don't apply to all editions.)

The Kino "Deluxe Edition" is digitally mastered from a 35mm archive negative, with 19 minutes of rare outtakes and special effects footage as extras. The film is tinted throughout -- a color effect that was used on its initial release, and which adds greatly to the fantastic nature of the story and its immense sets.

The new score by the Mont Alto Motion Picture Orchestra (a quintet that specializes in reviving music used during the silent film era) is based loosely on the original "cue sheet" for the film by James Bradford. This means that you'll be hearing some of the music recommended for the film on its first release (although the music would have been different in each theater--silent film music was left up to the music director at each movie house). The music features many "oriental" pieces written for the silent film theater by forgotten "photoplay music" composers such as Gaston Borch and Irenee Berge, as well as pieces by classical composers like Rimsky-Korsakov who explored oriental themes. A written commentary and cue list of the music used is on the DVD as an extra, and can also be found at Mont Alto's web site, www.mont-alto.com.

A different high-quality edition from Image Entertainment features an organ score by Gaylord Carter, who was a talented theater organist, and that's also a good choice. Be wary of other editions -- it's an amazing film, and the extra money spent for a quality visual and audio treat is well worth it. The difference in run-time between the Kino and Image editions of the film is mostly explained by a different film transfer rate.

ANOTHER GREAT FAIRBANKS CLASSIC
first, hats off to Kino for releasing all these great, old Daouglas Fairbanks Sr. Classics on DVD. They have done a fantastic job and the Thief of Baghdad shows agains why Fairbanks was the master of the Swashbuckler.As the thief of Baghdad, his movements are dance-like -- nothing like the athletics he performed in most of his other films. In this Arabian take, the thief ignores the holy teachings and sneaks into the palace of the Caliph (Brandon Hurst). All thoughts of robbery slip away, however, when he sees the beautiful princess (Julianne Johnston). Princes have come from many faraway lands to win the princess' hand (and it's amusing to watch her face growing ever more alarmed at their arrival, because each one is uglier than the last). The thief disguises himself as a prince and the princess falls in love with him. After having a pang of conscience the thief confesses all to the Holy Man (Charles Belcher), who sends him to find a magic chest. He braves many obstacles to get it, and when he returns he discovers that the Mongol Prince (So-Jin) has taken over the city. Using the chest, the reformed thief creates armies of men out of nothingness and recaptures the city. He then uses the cloak of invisibility to spirit the princess away on a magic carpet. Fairbanks stole some of the special effects for his film from Fritz Lang's Der Mude Tod, which he had purchased for American distribution.

Thief of Baghdad, with its look of unrealistic beauty (courtesy of art director William Cameron Menzies), was not fully appreciated in its day. Because of its huge cost ($2 million -- a real fortune in those days), it made little money.

A true Silent Classic!

It's Cut?
Some one here says this DVD has a cut down version of the film. I was going to say, if you have never seen it, it's one of the Classics of the Silent era and Fairbanks. One thing I might add that will completly change the way you percieve this film... Think Gene Kelly. Don't think about Fairbanks as an Actor, think about him as a Dancer and suddenly this film becomes a whole other kind of experiance. I'd hate to see any footage missing from this Master Work of one of the Silent Eras greatest stars. If this version is indeed cut down, go look for the complete version, and one that isn't running at Sound Speed too.

Not bad for an older movie
I am not going to give a long lecture cause if you haven't seen it yet well then you don't know what your missing. ... It is very well paced not lagging to much, like some movies do. With a great story line and filled with action, good characters and the fight for good verses evil this movie is a must see. ... Read more

Reviews (3)

ONE OF FAIRBANK'S BEST MOVIES
Doug Fairbanks was the consumate swashbuckler and the Three Musketeers is one of his best movies, if not THE best."The Three Musketeers" is based on the French novel by Alexandre Dumas. The King of France (Adolphe Menjou) is a weak-minded man manipulated by his sinister advisor Cardinal Richelieu (Nigel de Brulier). The Cardinal conspires against the Queen who opposes his influence. Fortunately for her, she is aided by the King's Musketeers, who have just welcomed young D'Artagnan (Fairbanks) into their ranks.

The actual Musketeers pretty much fade into the background and act as more of a comedic back-up to Fairbanks. I couldn't really tell one from the other (except for the portly Porthos) but they do a fair job with the fight sequences that they are given.

Great costume, exciting sword fights make this a true winner!

Back to basics
Sometimes the simplest things are the best !
I can recommand also the french silent movie version from henri diamant-berger(in 1921 too) that was a huge budget for this time and was lost forever before being found by chance in a private home.

No matter how thrilling and entertaining all the movie adaptations of dumas stories are, the book is still the best

That old movie is very close to the book which is a great thing

to get it, go to the french amazon (www.amazon.fr) and type les trois mousquetaires choose the one from diamant-berger

Fairbanks at his best!
Silent movie fans will be delighted with this swashbuckling tale starring the one and only Douglas Fairbanks! Set in France of long ago, this film uses elaborate costumes, wonderful sets and a hoard of extras. Fairbanks IS Dartanion as he sword fights his way into the Musketeers with bavery, arrogance and that wonderful touch of humor that seems to sparkle through his films. Spectacular stunts (done by the man himself), a wild chase scene and a supporting cast including Eugene Paulette (before he became rotund) and Adolph Menjou make this a silent screen classic everyone will enjoy! Watch out for the "odious Cardinal!" ... Read more

Reviews (11)

Probably the best silent fantasy picture made in the U.S.
At the time of its release, Thief of Bagdad, was the most expensive and most elaborate film created. It involved enormous sets and special effects which would be rivaled for years. The story has it all: action, adventure, love, and friendship. And it tells it all on a grand scale which can still be impressive 70+ years later.

Douglas Fairbanks, Sr., plays the Thief in an extremely sensual (though, not overtly sexual) way. He is very physically agile and innovative as he meanders through the streets of Bagdad using his wits to take what he wants with a minimum of effort.

The set designs for the film were done by William Cameron Menzies (sp?) and appear almost as pen and ink drawings in the black and white film. They make you feel as if you have entered a story book telling you of the Thief and his love for the Princess.

This DVD version has a nice organ accompaniment. It would be nicer to have the version which was released on LD with a full symphony performing Rimsky-Korsokov's Arabian Nights music. The music, tinting and introduction by Fairbanks' son made that the *definitive* version of the film for me.

Thief of Bagdad (Deluxe Edition) from Kino
Douglas Fairbanks' "The Thief of Bagdad" is in the public domain, so it's no surprise that there are many DVD and VHS versions of this film available, from bargain basement tapes with no music taken from battered source prints, to high-quality editions with fine music and extras. (Many of the reviews given here are for different editions, so if they complain about the video transfer, missing scenes, or the musical score, keep in mind that such comments don't apply to all editions.)

The Kino "Deluxe Edition" is digitally mastered from a 35mm archive negative, with 19 minutes of rare outtakes and special effects footage as extras. The film is tinted throughout -- a color effect that was used on its initial release, and which adds greatly to the fantastic nature of the story and its immense sets.

The new score by the Mont Alto Motion Picture Orchestra (a quintet that specializes in reviving music used during the silent film era) is based loosely on the original "cue sheet" for the film by James Bradford. This means that you'll be hearing some of the music recommended for the film on its first release (although the music would have been different in each theater--silent film music was left up to the music director at each movie house). The music features many "oriental" pieces written for the silent film theater by forgotten "photoplay music" composers such as Gaston Borch and Irenee Berge, as well as pieces by classical composers like Rimsky-Korsakov who explored oriental themes. A written commentary and cue list of the music used is on the DVD as an extra, and can also be found at Mont Alto's web site, www.mont-alto.com.

A different high-quality edition from Image Entertainment features an organ score by Gaylord Carter, who was a talented theater organist, and that's also a good choice. Be wary of other editions -- it's an amazing film, and the extra money spent for a quality visual and audio treat is well worth it. The difference in run-time between the Kino and Image editions of the film is mostly explained by a different film transfer rate.

ANOTHER GREAT FAIRBANKS CLASSIC
first, hats off to Kino for releasing all these great, old Daouglas Fairbanks Sr. Classics on DVD. They have done a fantastic job and the Thief of Baghdad shows agains why Fairbanks was the master of the Swashbuckler.As the thief of Baghdad, his movements are dance-like -- nothing like the athletics he performed in most of his other films. In this Arabian take, the thief ignores the holy teachings and sneaks into the palace of the Caliph (Brandon Hurst). All thoughts of robbery slip away, however, when he sees the beautiful princess (Julianne Johnston). Princes have come from many faraway lands to win the princess' hand (and it's amusing to watch her face growing ever more alarmed at their arrival, because each one is uglier than the last). The thief disguises himself as a prince and the princess falls in love with him. After having a pang of conscience the thief confesses all to the Holy Man (Charles Belcher), who sends him to find a magic chest. He braves many obstacles to get it, and when he returns he discovers that the Mongol Prince (So-Jin) has taken over the city. Using the chest, the reformed thief creates armies of men out of nothingness and recaptures the city. He then uses the cloak of invisibility to spirit the princess away on a magic carpet. Fairbanks stole some of the special effects for his film from Fritz Lang's Der Mude Tod, which he had purchased for American distribution.

Thief of Baghdad, with its look of unrealistic beauty (courtesy of art director William Cameron Menzies), was not fully appreciated in its day. Because of its huge cost ($2 million -- a real fortune in those days), it made little money.

A true Silent Classic!

It's Cut?
Some one here says this DVD has a cut down version of the film. I was going to say, if you have never seen it, it's one of the Classics of the Silent era and Fairbanks. One thing I might add that will completly change the way you percieve this film... Think Gene Kelly. Don't think about Fairbanks as an Actor, think about him as a Dancer and suddenly this film becomes a whole other kind of experiance. I'd hate to see any footage missing from this Master Work of one of the Silent Eras greatest stars. If this version is indeed cut down, go look for the complete version, and one that isn't running at Sound Speed too.

Not bad for an older movie
I am not going to give a long lecture cause if you haven't seen it yet well then you don't know what your missing. ... It is very well paced not lagging to much, like some movies do. With a great story line and filled with action, good characters and the fight for good verses evil this movie is a must see. ... Read more

Reviews (5)

Big, Exciting Film But Thematically Superficial
Film producer-star Douglas Fairbanks Sr. didn't merely craft eye-filling escapist films for audiences of the 1920s. Each film created a world unto itself with its own philosophy. Doug's 1927 hit, THE GAUCHO, came after a long string of swashbuckling epics that began with the relatively modest MARK OF ZORRO in 1920. Each subsequent film was really just a various on the ZORRO theme, some more obvious than others, most notably the sequel, 1925's DON Q, SON OF ZORRO. Bigger than ZORRO yes, but not particularly better.

Stunning audiences with his physical dexterity and acrobatic skill than would make Jackie Chan envious, Fairbanks astutely sensed the dangers of repeating himself. It has been said that he got the idea for making THE GAUCHO while visiting Lourdes in France, the site of a miraculous appearance of the Blessed Virgin Mary. Then too, Mary's repeated appearances in Fatima, Portugal only ten years earlier in 1917 was widely known. Fusing the elements of ZORRO with a religious theme, Fairbanks created a wonderful adventure that had more substance than his previous light-hearted adventures.

THE GAUCHO works best when Fairbanks is in his familar action element. For once, he choses a vivacious leading lady with Lupe Valez and they make an energetic team. More surprising is Doug's decision to play a Latin lover type, chain-smoking his way through the film, a decided departure from his earlier roles. Perhaps due to the death the previous year of Rudolph Valentino, the supreme Latin lover of films, Valentino successors began appearing in 1927 - even Ronald Colman was pressed into service in two or three elaborate swashbucklers opposite Valentino's former leading lady, Vilma Banky. THE GAUCHO seems to be Fairbanks' entry into the Valentino sweepstakes.

The opening prologue seems inspired by the Fatima appearance of Mary to a young girl who is unaffectingly played. But moving ahead ten years in the story, the girl, now an adult, seems more Hollywood than Fatima with her pencilled eyebrows and obvious wig. So too is Fairbanks' treatment of the miraculous when he contracts leprosy - but only on his left hand - and is cured surprisingly quickly by short visit to the shrine. Now seeing "the Light," Fairbanks posts the Ten Commandments on the front of the church proclaiming that they are the only law to live by. But his boastful manner suggests that he has not learned the lesson of humility and the film ends ambiguously over whether he has retained his outlaw ways. The treatment implies that Fairbanks' grasp of Christian theology was rather weak with Our Lady appearing a little too conveniently on cue. But, after all, this is a Fairbanks film. If we want true theology, we should watch a DeMille film (just kidding).

A Fun Fairbanks Film
The Gaucho is a fine Douglas Fairbanks vehicle, which shows his athleticism and charm to good effect. Fairbanks never claimed to be the greatest of actors. The variety of his expressions are somewhat limited. All he really does is laugh at danger. However he had a presence which is irresistible, a quality which draws the viewer to him. As the Gaucho, he plays a South American cowboy/outlaw, who turns into a sort of Zorro like liberator without the mask. He performs any number of great stunts, climbing walls, swinging through the trees like Tarzan and finding all sorts of ways of getting on and off a horse. Fairbanks also has a huge number of party tricks up his sleeve which are wonderfully enjoyable. He never seems to light a cigarette the same way, but performs this simple task with bravado and great skill. The leading lady in The Gaucho is "Mexican Spitfire" Lupe Velez. She grabs Fairbanks at the first opportunity and clings to him with great tenacity, fighting off any other female who comes within reach. She is very fiery, passionate and great fun to watch. One of her best scenes is a tango where she is literally joined to Fairbanks at the hip. The main villain of the piece is Gustav von Seyffertitz. He is always worth watching as he has a very unusual look and a sinister, creepy manner. Unfortunately he doesn't have as much screen time in The Gaucho as he might. It is also worth noting that Mary Pickford appears briefly as a vision of the Virgin Mary. Her cameo only lasts a few seconds, but what she does, she does well.

The black and white print of the Gaucho, on the Kino DVD, is very good. It is clear, sharp and bright and enables all the details of the fine sets to be seen easily. The musical score composed by Sydney Jill Lehman, is highly effective. It consists of South American style tunes which really fit the action. As a bonus the DVD includes an incredible Fairbanks short film from 1916. In The Mystery of the Leaping Fish he plays a detective who is constantly injecting himself with various drugs. He even apprehends the villains by drugging them with narcotics. This is a truly bizarre little film with some jaw dropping scenes which probably would be considered impossible, or at the very least tasteless to film today. This is a really good DVD showcasing one of the biggest of silent film stars. Fans of Fairbanks, or silent films in general, should not hesitate to get it.

BLACK DOOM IN THE ANDES
Douglas Fairbanks pretty much created and monopolized the dashing, confident, self-effacing movie action hero when movies were still young. In "THE GAUCHO," set high in the Andes, he plays an audacious, romantic, guerilla. He carries a sword, a gun and the Argentine bolos which he hurls with amazing skill. Shot in 1928 and based on an idea that Fairbanks claims he received when he visited the healing shrine at Lourdes, France, the story centers on the robbery of a mountain shrine that houses a young girl who has the power to heal. Fairbanks comes to the rescue and hunts down the bandits. In this lavish and beautiful action-packed comedy adventure, Fairbanks plays a roguish and unlikely hero that's a significant departure from the virtuous screen image he nurtured throughout his career. Here, he's a heavy drinker, carries on a decidedly carnal affair with the tempestuous Lupe Valez and falls victim to the fatal plague known as the Black Doom. A bonus feature on the DVD is the notorious Fairbanks starring 1916 coked-to-the gills cult film "The Mystery of the Leaping Fish."

Glorious
Fairbanks' best picture. A rollicking action picture that has a good deal of melodrama that holds up well.

This VHS copy is beautiful with a lovely score.

Excellent for viewing early Hollywood images of Latin Amer.
This movie, often referred to in texts that treat the image of Latin America as portrayed in Hollywood, really is a gem for this type of study. The movie shows many stereotypical images of the Latin American woman - both as the virginal paragon of submission, charity, and virtue in the character of the Lady of the Shrine (played by the Anglo Eve Southern), and as the "halfbreed harlot" who is impulsive, crude, and vulgar (but also sexy, fiery, and seductive) in the character of the Mountain Woman (played by the Mexican Lupe Velez). As far as male images go, what can one say other than the hero (an Argentine gaucho) is also an outlaw and bandit!! Great fodder for discussion of depictions of Latin America in 1920s Hollywood. ... Read more

Amazon.com essential video

Douglas Fairbanks, the most famous of the Zorros, made this mix ofcomedy and derring-do reluctantly, as a change-of-pace from his modern-dress playboy roles. The Old California adventure fared so well at the box office it caused the athletic superstar to rethink his image and don period finery for his best later vehicles, including The Thief of Baghdad.

Here, Doug has a ball playing dual roles, as hopeless fop Don Diego and as masked caballero Zorro, sworn enemy of all oppressors. When he isn't dueling with the evil Capt. Ramon (Robert McKim) or rescuing peasants, Don Diego/Zorro courts the lovely Lolita (Marguerite de la Motte) with bad magic tricks and worse manners. In the end, when Lolita's family is jailed, our hero throws off his masquerade, whips out his rapier, and wins the leading lady's hand.

Full of fun plot twists, secret passageways, and Fairbanks's signature arms-akimbo bravado, this silent classic (with restored sepia interiors) became the model for all the Errol Flynn-Tyrone Power swashbucklers to come. --GlennLovell ... Read more

Reviews (12)

Loved it!!!
This is a great silent film and my first with Douglas Fairbanks, Sr. (I love his son - he's cool and looks a lot like Cary Elwes in Princess Bride). He is great in the part-daring and dashing about here and there as Zorro while yawning into his hankercheif like a 'fish' while a rich gentleman. (You'll note the story is very remniscent of the Scarlet Pimpernel.) The 'lines' are great, the acting very well done and a number of parts will have you chuckling (like when the girl slaps him not once, not twice, not thrice - and with both hands on either cheek!) I'll have to say that this is one of the most enjoyable silent films i've seen in a while. When I put it on, even my little sister came to watch it.

I loved this movie!
Last Thursday, I got "The Mark of Zorro", starring Douglas Fairbanks, Sr., and I have already seen it. I loved it!

I especially loved the way Fairbanks played the dual role of Don Diego Vega/Zorro. Don Diego's lifelessness was oftentimes amusing, and so were those magic tricks of his. And I loved seeing the practical jokes Zorro played on Sergeant Gonzales. Oh, and could Zorro ever woo Senorita Lolita Pulido!

The acting was probably very good for a 1920s movie (though quite frankly, this is the first time I really saw a silent film, so I don't have much to compare it to), though the performance of Marguerite de la Motte as Lolita, in particular, is slightly melodramatic at times. Still, it's a minor complaint, and it didn't keep me from loving the movie and from wanting to watch it often. END

One of the best of the silents.
The only silent film I have enjoyed as much as I enjoy the best of modern film is Buster Keaton's The General, but Douglas Fiarbanks' The Mark of Zorro holds up better than most silents. The original music by Jon C. Mirsalis adds a lot. The sequal, Don Q., Son of Zorro, is even better than "Mark", so be sure to buy the two films on one DVD from King Video.

Wierd
I saw this film last night on TCM. Silent movies are very odd. Douglas Fairbanks is impressive in his acrobatics and swordplay but does not look like Don Diego, who is said to be handsome in the original story. It is the basic traditional Zorro story, based directly on the original novel by Johnston McCulley. For my first silent movie, it was OK, but without sound it is hard to follow. All the original characters are here, all not as attractive as their parts suggest. The remake starring Tyrone Power is much more impressive.

Silent movie viewer's guide
I am afraid that silent movies are not for every taste. But complaining about a silent movie being bad because it is, well, silent is like complaining that a talking movie is bad because it, well, talks.

As with any entertainment from a different era, silent films require patience and an open mind to get the proper feel of. Some people can do this, some people can't, that does not make either side an inferior species.

After having just rewatched this film, I must say that I still find it quite enjoyable. (I have seen every readily available version of Zorro) This is still the best of the lot in my opinion for several reasons. First, no pretentions. Second, very good action. Third, wildly imaginative stunts for the time.

I do hope you will give this movie a fair chance, silent films are a fascinating intellectual challenge to a modern filmgoer and will widen your film appreciation. Set your mind back to 1920 and savour the taste of the era. ... Read more

Reviews (8)

OUTSTANDING, SILENT VERSION
Before Costner, before Flynn, there was Douglas Fairbanks Sr., playing the classic Robin Hood role. Even over 80 years later this film stands the test of time.

Had it been made only a few decades later, with sound and in colour, it could have been one of the greatest Robin Hood films. Unfortunately, black and white films, and silents more than anything else, do not find great favour among the modern public. But regardless of these dated elements, "Robin Hood" does not look bad at all.

The story starts a bit earlier than the usual Robin Hood film. It begins on the eve of King Richard the Lionheart's (Wallace Beery) departure for the Crusades. To celebrate the occasion, Richard holds a tournament, and in the final round, the King's champion, the Earl of Huntingdon (Douglas Fairbanks, later Robin Hood) wins over Prince John's champion, Sir Guy of Gisbourne. Before his departure, the Earl falls in love with the Lady Marian Fitzwalter, but Gisbourne is jealous. Prince John makes a deal with the latter, saying that if Gisbourne goes to the Crusades and kills both the King and Huntingdon, John will arrange that the Lady Marian be forced to marry Sir Guy.

Immediately after King Richard's departure for the Crusades, Prince John assumes authority and becomes cruel towards the population of England. Marian succeeds in sending a message to the Earl while he is in France, asking him to return. The message-carrier is Little John (Alan Hale, who would play this part again in the 1938 version starring Errol Flynn). The Earl demands to return to England at once, but when Richard refuses, he tries to desert. He is arrested, put a local jail, and after the other troops have moved on, he escapes and returns to England with Little John. Noticing the cruelty of Prince John, the Earl decides to become an outlaw under the name of Robin Hood. Thus, the legend begins...

Douglas Fairbanks is magnificent as Robin Hood, a role that every swashbuckler has to play once in his career. Although Robin Hood himself (instead of the Earl) appears only after the first hour of the film, his leaping around, swordplay and natural charisma make of Fairbanks's performance as Robin Hood one of the best in the history of cinema.

The sets and costumes are probably the most magnificent ever used in a Robin Hood film. The castle of King Richard (and consequently of Prince John) is indeed breathtaking, even by the standards of today. The height of the castle walls, with no apparent end to them, is very impressive. The Knights' armor and shields are very realistically portrayed as well, and the film still comes across with a strong feeling of historical accuracy. And for once, King Richard is not portrayed as an aging man with a grey beard when he was in fact 32 years old at the start of the Third Crusade.

The photography, considering the year it was made, is amazing. The scenes in the castle mentioned above are great, and so are other individual scenes, such as the Earl, returning to England, swearing, with his sword raised in the air, to act for God, Richard, and Marian (who at that point in the film is presumed dead). The photography combined with editing creates some very successful moments, such as the joust between the Earl and Sir Guy, and the taking of Nottingham by Robin Hood. In spite of the well-known nature of the Robin Hood legend (at least that part), there are some suspenseful moments, such as the final fight, because of the excellent direction by Allan Dwan, editing, photography, and the script (also written by Fairbanks under a pseudonym). The final result is a Robin Hood story of epic proportions, but with a heartwarming romance at its core.

A few down notes: First, the tinted frames. Before the arrival of colour, frames were tinted to convey a particular atmosphere (blue, for instance, was inevitably used for the night scenes). In "Robin Hood", most, if not all, of the film is tinted one colour or another. The scenes in Sherwood Forest are of course green. But the colours are too intense, and rather than convey a particular atmosphere, the tinted frames are just annoying for the eye. Fairbanks must nevertheless be thanked for his later support of colour at a time when studios were unwilling to take a risk on the matter. His "Black Pirate" (1926), filmed in two-strip Technicolor, was groundbreaking, but in 1922 colour was still at a very primitive and experimental stage.

Second, the musical score. In silent films as in today's movies, music is important to set the mood of the picture. The version I watched had the original score by Victor Schertzinger, but it is not as good as it should have been. There are a few good moments in the musical score, but these are generally a ripoff from a then well-known but now obscure Reginald De Koven - Harry B. Smith operetta, "Robin Hood", which premiered in 1890. The rest is rather bland, with very few memorable passages. The quality of the recording itself leaves to be desired, since it often sounds like a MIDI file.

Douglas Fairbanks's "Robin Hood" may be dated in several respects, and the first part may be slow, but it still maintains tremendous appeal. The narrative, the sets, and of course Fairbanks's masterly performance in the title role still give this film a lot of entertainment value. It is a prime example of Hollywood's output during its first "Golden Age", and it remains a must see for Robin Hood fans.

Highly recommended!

A Blockbuster of its day...
Ah, a budget of $1 million. It sounds so small today when there are films with budgets topping $200 million. But back in 1922, this was the most expensive movie made. And it's clear where the money has gone. Lush sets, huge castles created just for this movie (with special tapestries, hand and foot holds, etc. to allow Fairbanks to show off his stuntman's prowess.) And then the extras. In one of the earliest ballads, Robin Hood had a band of 140 men. Here, there are far, far more. And no digitally extras either. Just low-paid (or more likely, no-paid) folks prancing around.

Yes, prancing. Sigh.

The Merry Men skip and jump, with little edge that outlaws would have. Not so with Fairbanks successor Errol Flynn, as charismatic and righteous as that Robin Hood was, there was a real sense of anger at the problems being inflicted on the poor. This earlier (although not the first) Robin Hood movie is much lighter fare.

The story is only threadbare. And only a few scenes from the ballads appear. Instead, half the film is taken up with jousting matches and other things which seem out of place in a Robin Hood film. Like modern-day blockbusters, it's big on spectacle and low on plot and character.

It's a classic, but it doesn't grab me the way Flynn's Robin Hood does. It lacks the heart and soul.

Now, onto the DVD quality. The image is surprisingly good for an 80-year old film. And they've gone with the colour-tinting process. Forest scenes, for example, are tinted green. That adds a warmth to the film lacking in its characters.

Unfortunately, the sound isn't as good. The score is electronic and very noticeably so. And it sounds more like an electronic kazoo than a real piano or organ as it should be. That is very distracting. Which is unfortunate, because the score itself is adapted from the 1890s Robin Hood stage musical composed by Reginald de Koven (this production introduced the wedding song "O Promise Me"). It would have been nice to hear a less synthetic version of de Koven's score.

So, riddle me this -- why is this film on DVD and not the 1938 Adventures of Robin Hood starring Errol Flynn? (And while its nice to see Fairbanks turn as Robin Hood and Zorro on DVD, I'd really like to own the Flynn and Tyrone Powers versions of those films.)

50% Ivanhoe, 50% Robin Hood
This is arguably the lushest version of Robin Hood (although the Flynn classic is in the running) with enormous sets(some of the biggest ever made), lavish costumes and big stars. However, the name is a bit misleading. The movie is 2 hours long and Robin Hood doesn't show up until exactly half way into it. Before that, he is the Earl of Huntingdon who wears armor and prefers lance to longbow. In fact, the entire first half takes after the Scott novel Ivanhoe much more than the Robin Hood legend. If you know this before going in, you will enjoy the movie more. I kept waiting for Fairbanks to start the Robin Hood stunts.

Enid Bennett is a pretty leading lady and wears her gowns with flair. Wallace Beery is a boisterous King Richard. (both also appeared in the silent epic the Sea Hawk, perhaps the best silent costume drama ever made and sadly unavailable for purchase)Sam de Grasse is an understated but insidious Prince John. Alan Hale plays Little John, a role he reprised for the 1938 Flynn version of Robin Hood.

The plot involves Fairbanks being framed for desertation on the way to the Crusades, returning to England and becoming the bandit we all know and love. Once Fairbanks gets into his feathered cap and gets a bow the movie picks up considerably. He leaps, dances, prances and generally becomes a proper Robin. But before this is an hour of courtly love and stately processions.

This is a good vehicle for Fairbanks but I think it could have been one of his best if it had more of the title character. But then, I suppose if I had one of the most opulent sets ever made at my disposal, I might show it off a bit too.

How to crumble a classic....
"Douglas Fairbanks' Robin Hood" is one of the greatest adventure films the cinema has ever produced.
It no longer exists in a pristine version, so I'm afraid this is the best way to watch it, and although any company that produces DVDs of silent films should be applauded this disc should be approached with some caution.
The reason is the score. I hate synth scores on silent films. Firstly it is totally out of place to stick an electronic soundtrack on an old film - but here it really is unacceptable. The recording of the score is so irritating and twee it cheapens the film. Robin Hood screams out for a full orchestral score, not a tinny electronic beat that sounds like a cheap Casio keyboard.
Fair enough, points can be made for cost etc. but the simple fact remains - would you pay good money to see Gone With the Wind or Titanic with a cheesy synth score? Although the film itself would remain the same, so much of the power and passion would be destroyed when the score is replaced. Would Jaws or even Psycho have anything near the same effect if you stuck the Backstreet Boys over the shower scene?
The same goes for silent films, perhaps more so. To watch the Brownlow and Gill restoration of Fairbanks' Thief of Bagdad is to watch a beautiful classic of the silent screen with a perfect score conducted by Carl Davis. To watch the same film with a syth or organ score is to see half the film. It looks exactly the same - but loses so much sweep and power.
Get the DVD, switch the sound off and stick on a suitable CD. The film is improved hugely. (By the way, using public domain classical recordings is the easiest and cheapest way to get a decent score - if any DVD producers are reading this...)

Great movie but so far away from the true Robin Hood
In response to someone elses comment about the role of Marian, I just needed to point out that in the original ballad of Robin Hood and Maid Marian - they are lovers and she cross-dresses as a boy. Not recognizing one another, they sword fight for hours until she finally bests him (so much for your theories on medieval women). Once they recognize one another, they reinitiate their affair. Also, in the may games - Marian is basically a "free" woman. She is characterized as a wagger of ballocks/and a tearer of sheses [sheets]. As you can see, these later interpretations are extremely patriarchal and reflect a Victorian view - not a medieval one. ... Read more

Description

By the age of seventeen, Mary Pickford had become the first actress to achieve international superstardom. By the time she was thirty, she was the first and only woman ever to own a major movie studio, the only woman to be the highest-paid actor in Hollywood and the first actress to have complete control in making her films. With comedic talents equal to Keaton, Lloyd or Chaplin, the tragic range of Gish and Swanson and business acumen to rival any Hollywood mogul, Mary Pickford was the consummate movie star of the 20th Century. "Mary Pickford: A Life on Film" is the definitive documentary on the most powerful woman in the history of cinema. Hosted and narrated by Whoopi Goldberg. ... Read more

Amazon.com essential video

Douglas Fairbanks established himself as the first action hero in a series of lavish, action-packed adventures beginning with The Mark of Zorro in 1920. The next year Fairbanks called on the director of that success, Fred Niblo, to direct him in the even more ambitious The Three Musketeers, a swashbuckling costume classic packed with romance, knockabout humor, and Fairbanks's patented brand of gymnastic action. In a perfect match with his exuberantly cocky personality, Fairbanks plays the naive but gifted son of an impoverished nobleman who goes to Paris to seek his fame in the legendary king's guards, known as the Musketeers. The quick-tempered hick is easy to rile and immediately secures duels with the best swordsmen in France, the infamous Three Musketeers, before bonding with them in a brawling fight with the Cardinal's men. Meanwhile, the conniving Cardinal plots to humiliate the Queen and gain the ear of the foppish, easily manipulated King (Adolphe Menjou). The complicated plot introduces more characters than one can easily keep track of and Niblo tends toward static, airy setups that show off the spectacular sets, relying on the bounding energy of human dynamo Fairbanks to create the energy, which he does with cocksure confidence and a smile simultaneously generous, genuine, and just a little smug. Fairbank's version is a veritable blueprint for Richard Lester's excellent 1974 remake. --Sean Axmaker ... Read more

Description

I've spent my life searching for a man to look up to without lying down, said Frances Marion, and what a life it was! From 1915 to 1939, she was one of the most powerful talents in the movie industry, writing more than 200 movies as the world's highest paid screenwriter, man or woman, and becoming the first screenwriter to win two Oscars. Moguls competed for her stories, and stars like Pickford, Garbo, and Gable brought her characters to life in classics like "The Champ," "Poor Little Rich Girl," "Anna Christie," "Camille," and more. Now her fascinating life and times come alive in this insightful documentary narrated by acclaimed actress Uma Thurman and Oscar-winner Kathy Bates, who gives voice to the screenwriter's own words taken from her letters, diaries and memoirs. Footage from more than twenty of Marion's movies aligns with commentary by pre-eminent silent film historian Kevin Brownlow, critic Leonard Maltin and more! ... Read more

Reviews (3)

I came for Mary
Since this is a DVD double feature, I will review both elements separately.

Without Lying Down:

Take the second title very seriously, this is very much about women in Hollywood. I completely agree that the powerful women who worked behind the camera in the silent era have