A British mercenary arrives in pre-Revolution Cuba to help train General Batista's Army against Castro's guerrillas while he also romances a former lover now married to an unscrupulous plantation owner.
It is twenty years after Robin Hood's heroics against Prince John and the Sheriff of Nottingham. Since then, Robin (Sir Sean Connery) has spent all his time outside of England, fighting as Richard the Lionheart's right-hand man in the Crusades and in France. His only connection to his past life in Sherwood Forest is his faithful companion, Little John (Nicol Williamson). However, Richard the Lionheart is now dead and a war-weary, middle-aged Robin decides to return to England. His first priority: rekindle his relationship with Maid Marian (Audrey Hepburn). However, if he figured on a peaceful life, he didn't bargain on the machinations of the Sheriff of Nottingham (Robert Shaw) and King John (Sir Ian Holm).Written by
Writer James Goldman had a considerable interest in the British King John, depicting him in a play ("The Lion In Winter"), this film, and a novel ("Myself As Witness"). The characterization of this monarch differs in each work. See more »
In the opening scene at the Siege, Robin tells Richard he has fought for him for twenty years. In the next scene, Richard also tells Mercadier that he first met Robin on his way to the Crusades, and that they had been friends for twenty years.
Richard only sat on England's Throne for nine years (some say 8), and spent perhaps as little as only 8 months in England during his entire Reign. See more »
This is a real collector's item. A literate script by Bill Goldman's older brother, Jim, something of an anglophile despite being born and bred in Chicago - he'd already weighed in with The Lion In Winter, both stage and then screenplay plus the novel Myself As Witness, about King John, so he was right at home in the territory. Thirteen years after From Russia With Love Robert Shaw and Sean Connery are back as adversaries though this time around there's a healthy dose of the love-hate aspect now obligatory since The Prisoner Of Zenda brought it off to a fare-thee-well. The autumnal feel is palpable from the first image of decaying fruit and is reinforced by the muted, pastel rather than oil pastoral settings. This leaves only the playing which runs the gamut from more-than-competent to exquisite. Season of mists and mellow fruitfulness indeed, in spades. 9/10
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