Robin Hood Spotlight

The Adventures of Robin Hood
"The Coming of Robin Hood"

Spotlight Review by Allen W. Wright
(September 2025)

Title Card for The Coming of Robin Hood

Introduction

Starring Richard Greene,  Alan Wheatley and Leo McKern
Written by  Eric Heath or Lawrence McClellan (depending on the print)
[AKA Ring Lardner, Jr. and/or Ian McLellan Hunter]
Directed by Ralph Smart
Original Canadian Airdate: September 12, 1955
Original UK Airdate: September 25, 1955
Original US Airdate: September 26, 1955
(A Sapphire Films Ltd Production for ITC Entertainment)
 to
The Adventures of Robin Hood premiered in September 1955 in three different countries -- a first for a TV show to have international airings that close together.

To celebrate the show's 70th anniversary in 2025, this page takes a closer look at the first two episodes -- "The Coming of Robin Hood" and "The Moneylender".

This is a supplement to an earlier in-depth article I wrote about the TV series as a whole, originally written to celebrate the show's 50th anniversary.

Writers in Disguise

Depending on which version of the episode you watch, “The Coming of Robin Hood” was written by Lawrence McClellan or Eric Heath. But neither of them were the actual names of the writers. For The Adventures of Robin Hood was mostly written by Americans who had been blacklisted for their left-wing politics and were now working under pseudonyms. The main writers were the team of Ring Lardner, Jr (part of the Hollywood Ten, who went to prison for contempt of Congress) and Ian McLellan Hunter. They used the pseudonym of Eric Heath on many subsequent episodes as it was the preferred pseudonym of the writers. Lawrence McLellan was apparently a suggestion from producer Hannah Weinstein, who herself was a left-wing American living in exile in the UK.

But then there is a question of whether both Lardner and Hunter wrote the first episode, or if only one of them contributed. Steve Neale’s comprehensive article in “Un-American” Hollywood: Politics and Film in the Blacklist Era credits the episode to Ian McLellan Hunter alone. But Neale’s source for that is the Radical Innocence by Bernard F. Dick, and Dick has Hunter saying this was the sole episode that Lardner wrote alone (as Hunter was finishing up another project). In his autobiography I’d Hate Myself in the Morning, Lardner describes him and Hunter being recruited together and refers to the episode as “our pilot”.

The 2006-2009 Robin Hood TV series pays tribute to both the writer’s real name and his pseudonym in the episode "Lardner’s Ring" by John Fay. Gisborne’s men kill a messenger from the king. Robin recovers the message which asks Robin to send a response with Lardner. Marian assumes that Lardner is the name of the deceased messenger. But Robin tells her “This isn’t Lardner. This is McLellan. Lawrence McLellan.” It turns out that Lardner is a different sort of messenger -- a pigeon. And the message is to be stored in Lardner's ring.

Robin of Locksley, a knight bold and good,

Back from the Holy Wars becomes Robin Hood

-- Rhyme sung over the episode's title card.

The Returning Crusader

The opening stanza sung to the tune of Early One Morning would become a fixture for the show's first two seasons. They provide a handy plot summary – although perhaps not an accurate one. Robin’s status as a knight is in question. He’s not addressed as Sir Robin. His family had a manor and some status, but actual knighthood isn’t confirmed by anything apart from the opening stanza.

Those two lines could be used to sum a lot of Robin Hood films and TV shows including 1976’s Robin and Marian, the 1991 film Robin Hood: Prince of Thieves, the 2006-2009 TV series from BBC/TigerAspect, the 2010 Robin Hood film and the 2018 film. But there are only a couple of precedents before this episode aired – the obscure 19th century serialized novel Maid Marian, the Forest Queen by J.H. Stocqueler and the much less obscure although now overshadowed 1922 film Douglas Fairbanks in Robin Hood. And even the Fairbanks film spends quite a bit of time with Robin before he leaves for the Crusades.

The Robin Hood of the 20th century has borrowed a lot from the returning crusader Sir Wilfred of Ivanhoe, the title character in Sir Walter Scott’s 1819 novel Ivanhoe – including the conflict between the Normans and the Saxons – but it was Ring Lardner, Jr. and Ian McLellan Hunter writing for the 1955 TV series who truly canonized the idea of Robin as a returning crusader.

Robin scales the walls of Locksley Hall

 A mysterious rider rider wearing a dark cloak over a crusader’s garb rides through the woods. As he dismounts, we hear boisterous singing coming from a manor. The gate closes for the night before the stranger approaches it.

The stranger walks along the outer wall until he finds a loose stone, he uses his knife to pry it further away from the rest of the stones until it becomes a foothold. Then the hooded stranger scales the wall.

Once inside he opens a window to see a woman stirring a pot.

Robin at the window in Locksley Hall

After checking for guards, the stranger pulls down his hood. And we discover that he’s not a stranger after all. The old woman recognizes him and repeatedly exclaims “it’s Master Robin!” to rouse the old man lying in bed. (The hood didn’t exactly hide Robin’s face and viewers would have recognized lead actor Richard Greene much earlier.)

Robin greets Martha and Tom – the gatekeeper of Locksley Hall and his wife – who are delighted that the pilgrim they spoke to many months ago found Robin (“at the very gates of Jerusalem”, he notes.)

Tom is rousing to the point of fanaticism.

TOM: I said the day of vengeance would come, Martha. Master Robin will strike down every last one of them!

 ROBIN: I've had my fill of bloodshed in the past four years, Tom, crusading with King Richard. I've come back to visit my father's grave and claim my inheritance. Then I want to settle down, peacefully.

 TOM: There's no peace left! They'll kill you unless you kill them first!

Robin listens to Tom's ranting

Robin’s eyebrows raise in shock and confusion. He wonders who’d want to kill him. Tom explains that a year ago Sir Roger de Lisle and the Normans showed up at the gate of Locksley Hall saying they now owned the place. When one of the other servants told the occupiers that Robin would return from the crusades, the Normans gave him a severe flogging.

ROBIN: Poor Wat. But I'll make it up to him as soon as I get my lands back.

TOM: You'll not get them back. Not unless you kill! Cut off their heads, man and woman alike! Starting with Roger de Lisle. Kill! That's the only way.

Martha tries to calm Tom down, and apologizes. But Robin understands, showing compassion and empathy for his servants.

MARTHA: Night and day we've lived in fear of our lives.

 ROBIN: I heard rumours of these evil things, Martha, that's why I came back. But I can see I stayed away too long.

 MARTHA: Everything's changed since you went, Master Robin. Sometimes I think when Tom raves about blood and death to the Normans, he's the only sane one of us left.

 ROBIN: It's time I made myself known to these ... guests ... of mine.

Norman MacOwan and Susan Richard play their parts of Robin’s servants well.

Robin Hood movies such as 1938’s The Adventures of Robin Hood with Errol Flynn or 1922’s Douglas Fairbanks in Robin Hood (yes, that’s the movie’s official title) often display the Norman oppressions in a montage of cruelty. It's an effective short hand – if you’ve got the time and a movie-sized budget.

I suspect some might criticize the scene for violating the old cliché “show, don’t tell”. But I think such criticism would be unfair. This scene shows us something other than just the Normans are cruel. We see how their cruelty has affected the people. We see a kind man wanting to cut off heads. But more importantly we see Robin’s reaction to this. We see his steadiness of character. We see how his servants genuinely love and respect Robin. We see his empathy. These are not traits shared by the new owners of Locksley Hall.

Sir Roger De Lisle reacts when Robin's name is mentioned

The Normans: Conquerors or Squatters?

 We pick up with Sir Roger de Lisle, the blustering new owner of Locksley Hall who is hosting a dinner party with his wife and some friends.

The walls of the Hall are covered in medieval tapestry designs – an effective and economical way of evoking the period without the need of an elaborate and costly set. There’s something almost haunting about the art, especially in black and white. Viewers might also recognize the ornate chairs that Sir Roger and his wife are seated in – they were especially built for the 1952 live-action Disney film The Story of Robin Hood and His Merrie Men and appear in many films and TV shows, including Robin of Sherwood in the 1980s.

De Lisle is played by Leo McKern, probably best known for his role in the long-running series Rumpole of the Bailey. Others might recognize him as the most memorable of the various Number Twos on the cult 60s TV series The Prisoner.

McKern is very effective at playing a villain that mixes comedy and cruelty. He’s recounting to his guests how he punished a serf who refused to get down on his knees. He loses track of his tale as he shouts for more wine. His wife steers him back to his story. “You were carving up a serf, my bold liege.” The tone in her voice has an undercurrent that suggests he’s anything but bold.

When his servant finally is able to mention the guest urgently demanding attention is Robin of Locksley, we see a touch of fear in Sir Roger.

ROGER DE LISLE: Robin of Locksley? That's impossible. He's dead! Everybody know that! I have a paper to prove it.

ROBIN (off-screen initially): And I'm here to disprove the paper, my lord. [Robin stands in doorway. Walks to high table.] It's true I was wounded in the service of the king, but I'm very much alive as you can see.

ROGER DE LISLE You're alive, yes. But you're not Robin of Locksley.

ROBIN: Under ordinary circumstances I'd take it ill to have my word doubted, but you are in a sense guests in my house, whether invited or not. All I ask is that you leave my home as soon as possible. If you do so peacefully we can forget what happened.

ROGER DE LISLE: Most generous of you. [Turns to wife.] All he wants is that we should give up our home and our land and turn them over to him.

 ROBIN: My home. And my land.

 ROGER DE LISLE: So you tell us. But I say Robin of Locksley's dead. And you're an imposter!

De Lisle rebuffs any possible proofs of Robin’s identity. Saxon testimony is meaningless. Robin alludes to a Norman character reference but that he’ll bring that witness to the Sheriff of Nottingham.

ROGER DE LISLE: What purpose could that serve? The sheriff himself commissioned me to take over this house and land. And to maintain peace and order.

ROBIN: Since my return I've seen little peace and less order.

ROGER DE LISLE: I have no wish to argue these matters with you. Your claim is preposterous! Robin of Locksley's dead. He was killed in the Holy Land. His father died, leaving no other heir.

ROBIN: No other heir but me. [He moves over to medieval portrait of a knight.] Look at his picture and you'll see a resemblance. But I see you close your eyes as well as your ears to justice.

Robin and Sir Roger stare at a portrait

De Lisle threatens to have the portrait burnt. Robin sees the soldiers advancing towards him and apologizes to Sir Roger and his wife. He admits he might have made a mistake in coming.

At the doorway, Robin turns around with his sword drawn. “The mistake I made was to waste my breath on a scoundrel who shall answer to me either in court or by the sword.”

 Robin dashes out the door with the guards in pursuit. He’s able to fend off multiple guards at once, proving he’s a skilled swordsman and a true adventure hero.

Robin swordfights in Locksley Hall

Robin makes his escape and climbs down the same wall he scaled to enter the manor.

Sir Roger, who let Robin dash past him with no resistance, bemoans how cowardly his guards are. His wife sarcastically tells him. “We can't all be as bold as you, my dear.” She asks about Robin’s threat to see the sheriff. Sir Roger says he’ll see the sheriff tomorrow and assures his wife they can trust him.

  “Quite, my dear.” She retorts. “So much more prudent than trusting to the sword.”

 In Sir Roger’s exchanges with both Robin and his wife we see some of Lardner’s (and/or Hunter’s) flair for comedy.

Edgar shoots a deer

A Poacher in the Forest

Robin sleeps outside in Sherwood Forest, and he awakens to see a poacher shooting a deer. He smiles approvingly at the poacher’s skill. But then the poacher is set upon by three foresters and Robin takes action.

This is a Robin Hood trope viewers would likely be familiar with. Errol Flynn’s Robin Hood rescued Herbert Mundin’s Much from a poacher in the 1938 The Adventures of Robin Hood. Robin also rescues poachers in the early parts of several novels including Henry Gilbert’s popular 1912 novel Robin Hood and the Men of the Greenwood and its many imitators. Robin’s conflict with foresters goes back to ballads such as Robin Hood’s Progress to Nottingham.

Robin comes on the scene and introduces himself. The men explain they’re Royal Foresters and they’re carrying out the punishment for poaching deer.

The foresters describe the punishments

ROBIN: What is the punishment?

 FORESTER: A very unpleasant one, I assure you. In this case, it's eyes, fingers and the forest.

ROBIN: You're going to do that to him, just for killing a deer?

FORESTER Well, I don't like it anymore than you do. Better go talk to Prince John, or whoever settles these matters for him.

Other versions of Robin Hood have depicted the foresters as taking great pleasure in their cruelty. But these men aren’t Sir Roger de Lisle or the Sheriff of Nottingham. They get no pleasure from what they do. To them, cruelty is merely a job. It’s something that Hannah Arendt would describe years later as “the banality of evil”.

 As the forester picks up a two-pronged poker to use on the poacher’s eyes, Robin picks up his bow and threatens them with an arrow. The foresters say he’s a bold fellow, but doubt Robin can kill all three of them. Robin grabs a piece of wood, throws it into the air, shoots an arrow into it and then quickly notches another arrow. At least, I think it’s supposed to look like a quick action. Reality on a TV budget is a bit slower the computer generated fast archery in 21st century movies.

The head forester remarks “Our duty doesn't include getting ourselves killed You can have him. For now.”

After the foresters leave, the poacher tells Robin that he was getting meat for his starving family. As it is no longer safe for the poacher to go home, Robin offers to deliver the meat for him.

 The poacher says he’ll need to go live with the mysterious outlaws in Sherwood.

Robin is dismayed to hear of them. “Englishmen forced to leave in the forest like hunted animals.”

Robin of Locksley speaks to the sheriff's clerk

An Audience with the Sheriff of Nottingham

Robin dismounts at the gate to Nottingham Castle, marches through the gates and then into the waiting room outside the sheriff’s chambers. Many others are waiting too.

Robin declares he wishes to bring charges against Sir Roger de Lisle. The portly clerk is familiar with the case but tells Robin to just wait with the others.

ROBIN: Since you know who I am, perhaps you also know that I've come a long way from the Holy Land.

 He tries to go in and the guards block him.

CLERK: You Crusaders are all alike. You volunteer to go to the war of your own accord, nobody makes you go, and then you expect special consideration because of it. Now please take your turn. Perhaps we'll be able to do something for you late tomorrow or the next day.

A Robin Hood scholar who first watched the episode as a child, and who grew up seeing how veterans of World War II and the Korean War were mistreated upon returning home said that 1950s viewers would immediately spot the parallels in the clerk’s dismissive behaviour.

Robin isn’t kept waiting long before a forester comes in and spots him. The forester has a word with the clerk and both men leave.

The tension is ramped up as the episode takes this moment to pause for a commercial break.

After the commercial break, the clerk returns to the room and calls Robin’s name. Robin protests because so many people are ahead of him, but the clerk tells him the sheriff thought his case was too important to be delayed.

Robin is shocked to find that Sir Roger De Lisle is sitting beside the sheriff alongside his cousin the Count de Severne. Another clerk explains “A useful custom of the Norman lords. They sit in judgment on their own cases.”

Robin finds Count de Severne and Roger de Lisle listening to his case

And it is here we first encounter Alan Wheatley’s gloriously sinister turn as the Sheriff of Nottingham. His address to Robin suggests how the case will go. “So you are the man who claims to be the son of the late Edward.”

 Robin stands his ground and reveals a detail that is about to become very important. "I am the son of the late Edward of Locksley, master of the king's foresters in this shire.”

Robin expresses his displeasure to see De Lisle sitting alongside the sheriff. Sir Roger blusters. But his cousin the count is calmer and more politic, saying “we are only here for consultation.” Perhaps the count knows that the sheriff has more damning evidence.

Alan Wheatley as the Sheriff of Nottingham

SHERIFF: Before we hear your claim, there's a question I should like to ask you. What were you doing at the hour of dawn this morning?

ROBIN: What's that got to do with my claim?

SHERIFF: Answer the question please. Is it not a fact that you were in Sherwood Forest? And that you willfully obstructed the king's justice?

ROBIN: Hardly justice. I did prevent some foresters from committing an act of barbarous cruelty.

 The Sheriff says that Robin is found guilty and sentenced to imprisonment. Sir Roger quickly adds “the forfeiture of his estates” to the list of punishments, which the sheriff agrees to.

And then Robin brings out a defence for his having stopped the foresters.

ROBIN: The title of Royal Forester passed to me from my father. And I was within my rights this morning, as you well know. This is a crude attempt to justify the theft of my property.

 Robin is the son of a forester in the ballad Robin Hood's Birth, Breeding, Valor, and Marriage, a detail that appears in some novels. In the 1975 TV series The Legend of Robin Hood, Robin Hood’s foster father is a forester.

The sheriff is unimpressed and repeats the punishment, but Robin has an ace up his sleeve.

SHERIFF: Forfeiture of your estates to the crown. Is there anything further?

ROBIN: You dare to speak in the name of the crown. I bear a letter from King Richard, who shall hear of this by the first courier to the Crusades.

 [Roger looks worried, but the sheriff is calm.]

 SHERIFF: May we see this letter.

ROBIN: You doubtless recognize the royal seal. The first part is some remarks his majesty was good enough to make about my military service. The second asks all officers of the crown to give special assistance to any cause of mine.

ROGER DE LISLE: My lord, I protest! This is undoubtedly a forgery.

 SHERIFF: The seal is authentic. Why was I not shown this before?

ROBIN: This used to be a court of justice, whether one bore a king's letter or no.

SHERIFF: It is clear that there has been a grave injustice, and that you are who you say you are. If there is anything that we can do for you, as well as the full restitution of Locksley Hall, together with all its lands and people .

Robin of Locksley and the Sheriff discuss the king's letter

Robin Hood movies often end with Robin being pardoned, and showing that his outlawry was merely a temporary condition. It minimizes the threat to authority posed by having an outlaw hero. But here we’re at the beginning of the tale – a royal pardon might only come upon cancellation. So, instead we get a letter from King Richard at the beginning of the tale. It suggests that not only does Robin have greater moral authority than the sheriff, he has greater legal authority as well.

As for Robin not presenting the letter straight away, it is a test of the sheriff's justice -- not unlike Sir Richard asking the abbot to give more time to pay his debt in the medieval ballad A Gest of Robyn Hode. It shows Robin somewhat as a man of the people, by first trying to appeal to the same justice as anyone else.

The sheriff suggests that Sir Roger should have everything ready to hand the estate back to Robin by noon tomorrow. Robin gives a slight bow and leaves.

Sir Roger is outraged. His cousin Count de Severne as usual is much calmer, and smarter.

SHERIFF: A man who has the ear of the king can be a great danger. This cannot be handled in the ordinary way.

 ROGER DE LISLE: But my estates!

 COUNT DE SEVERNE: Hold your tongue, Roger, and listen to what his lordship has to say.

 SHERIFF: If you want the estate, you will have to earn it.

ROGER DE LESLIE: Earn it? You mean work for it?

SHERIFF You can't hand an estate over to a man unless he's alive, can you? Nor can King Richard receive any messages from a man who has unfortunately met with a fatal accident.

Sir Roger is still confused but his cousin offers to explain the sheriff’s “brilliant solution” to him.

This episode makes a sharp distinction behind the different kinds of villainy. McKern’s Sir Roger is an idiot – only his wealth and position makes him dangerous. De Lisle is so privileged that any kind of work is beneath him. He would never serve as a primary antagonist in any TV show aside from a workplace comedy. Sir Roger just blurts out what he thinks – and frankly he doesn’t think too much. Count de Severne (played in a single episode guest appearance by Gerard Heinz) is more circumspect – able to read between the lines.

And then there’s Alan Wheatley’s Sheriff of Nottingham who also writes between the lines. He has to be cautious in using his legal power to commit illegal acts. He is behind many schemes, but he can never seen to be behind them. He does not have unlimited authority. He can’t just ignore the king’s letter. He needs to maintain respectability.

Writer Ring Lardner, Jr. (aka Eric Heath aka Lawrence McClellan) certainly knew about corrupt politicians. The chairman of the House Un-American Activities Committee who interrogated Lardner and other suspected communists was Congressman J. Parnell Thomas. Lardner and nine of his compatriots (the Hollywood Ten) were sentenced to prison for contempt of Congress. Lardner was sentenced to a year in Danbury Prison in Connecticut. One of Lardner’s fellow inmates was … J. Parnell Thomas, who had also been sent to prison on charges of fraud and corruption.

A Fatal Accident

The next day Sir Roger surveys the great hall at Locksley Hall. He calls to and then shoos away a crossbowman hiding in the stairwell.

Robin enters and Sir Roger de Lisle is polite but nervous. Robin spots his father’s old armour hanging in the hall. And then he spots the shadow of the crossbowman on the floor.

Tom warns Robin of De Lisle's treachery

Robin moves to stand behind Sir Roger, blocking the crossbowman’s aim.But then Tom runs in to warn Robin. SIr Roger breaks away and calls to his man to shoot. But as William looses his crossbow bolt, Robin grabs Sir Roger and uses him as a human shield.

Richard Greene's Robin uses Leo McKern's Sir Roger as a human shield

The crossbowman then stabs Tom with a dagger,

As Robin runs out of the hall, he encounters Count de Severne who threatens “You will hang for this!”

Now Robin of Locksley truly is an outlaw. And while the Sheriff of Nottingham probably wanted Robin dead or at least captured, I expect that Sir Roger's death will probably not trouble him too greatly.

Will's outlaws approach a sleeping Robin Hood

Joining the Outlaws

The moon shines through the clouds. Robin stokes a small campfire in the woods. When he starts to hear animal calls, he stamps out the fire, lays his cloak on the ground and climbs into a tree. Outlaws come out of the woods and approach Robin's cloak and chainmail hood, which he had fashioned into the shape of a sleeping man.

 The leader of the outlaws – identified fully in the next episode as Will Scathlock – demands “Your purse, Sir Knight. Make it quick.” But he’s speaking to an empty cloak.

 Robin watches from above smiling at his deception. The outlaw leader pulls the chainmail hood up and sees it is filled with grass. Robin jumps out of the trees and lands between the three outlaws.

 Robin tells the outlaws that they’re the men he’s been looking for.

ROBIN: I thought the quickest way to find you would be to build a fire so that instead of going to the outlaws, the outlaws would come to me.

OUTLAW: What do you want with us? You're not a poor man. Look at your clothes, you're a rich Norman.

ROBIN: Neither Norman nor rich.

WILL: Then what are you? A spy?

ROBIN: A spy? [Laughs] I'm wanted for the murder of Sir Roger de Lisle.

WILL: You killed De Lisle? I don't believe you.

ROBIN: I didn't. I said I was wanted for his murder, not that I was guilty.

 It’s a distinction that keeps Robin’s hands somewhat clean. He does kill in future episodes, but he does not murder. Using De Lisle as a human shield was self-defence. But the other outlaws are not happy with Robin’s semantic games.

WILL: Wait. Now listen, my friend. We're outlaws. Because that's what Norman law has made us. They took our land for taxes, treated us like cattle. There's a price on our head. So the sheriff has sent out informers and spies. And we think that you're one of them.

ROBIN: I've told you the truth. If you try to rob or attack me, you're doing the same thing to a friend that you're accusing your enemies of doing to yourselves.

Alfie Bass as Edgar

It’s not surprising now that we know the writers’ experiences with HUAC and the Hollywood Blacklist that so many episodes revolve around issues of trust and betrayal. They are themes that are a natural fit for any Robin Hood tale, but there is a special emphasis in this series.

The outlaws still don’t trust Robin, when someone is ready to vouch for him. The poacher from earlier in the episode comes out of the woods and stays Will’s hand.

The poacher played by Alfie Bass (which the ending credits tell us is named Edgar) announces “I know him. He's the one that saved me from the foresters. The man with the hood.”

They’re impressed that Robin not only saved Edgar’s life but frightened off three foresters. Robin explains he wants to join their band. But there’s still one question they want answered.

WILL: What's your name?

ROBIN: Robin of ... nothing. Robin.

WILL: Robin ... of the Hood.

Will and Robin shake hands as Robin is renamed "Robin ... of the Hood"

The horn from the opening credits plays as Robin receives his new name and they shake hands.

"The Coming of Robin Hood" does an excellent job of setting up the series. We get a sense of Robin’s integrity, his intelligence and his skill as a fighter. We see the various sorts of people fights. And as the famous theme tune (not apparently played on the original British release of this episode) tells us, we see he is feared by the bad (Sir Roger) and loved by the good (Tom and Martha).

But the episode leaves out the most famous maxim of Robin Hood. We don’t see him rob from the rich and give to the poor. And while Robin has certainly displayed the qualities that make somebody an excellent leader, he is not the leader of this outlaw band.

The second episode completes the job of transforming returning crusader Robin of Locksley into Robin Hood.

"The Moneylender"

The title card for The Moneylender

Introduction

Starring Richard Greene,  Alan Wheatley, Alfie Bass, Bruce Seton and Leo McKern
Written by  Ian Larkin and Eric Heath 
[AKA Ring Lardner, Jr. and Ian McLellan Hunter]
Directed by Ralph Smart
Original Canadian Airdate: September 19, 1955
Original UK Airdate: October 2, 1955
Original US Airdate: October 3, 1955
(A Sapphire Films Ltd Production for ITC Entertainment)

This episode has two credited writers -- both pseudonyms for Hunter and McLellan. In most episodes the writing partners would use a single pseudonym for both of them.

Trapped by the sheriff, stands Robin like a mighty rock.

And falls heir to the brave Will Scathlock

-- Rhyme sung over the episode's title card.

A Clash of Staffs and Ideas

The episode begins with the outlaws practicing with various weapons. They ask Robin to demonstrate his archery skill and he splits a wand of wood, Robin’s feat from the ballads (splitting another person’s arrow came later). Then he offers to help Edgar learn the quarterstaff.

 The outlaws are excited when Will Scathlock returns to the camp with 80 guineas worth of treasure stolen from one of Sir Philip’s kinsmen. Will is annoyed to see Robin and Edgar are still practicing with the quarterstaffs — showing no interest in Will or his robberies.

 Will tries to engage Robin in conversation but Robin just gives short neutral answers but turning back to advise Edgar. Will points out that 80 guineas is a lot more than Robin’s brought in since he joined them. Robin responds “Our turn's coming, isn't it, Edgar?”

Edgar tells Will that Robin is a good teacher. And Will bitterly replies “Oh, perhaps I should take a lesson from the master.”

 As Robin and Will duel, the outlaw leader questions his latest recruit. The conversation shows the differences between the two men and forms the main theme of the episode.

The outlaws watch as Will challenges Robin to a quarterstaff duel

WILL: You were against us robbing Sir Philip's party, weren't you

ROBIN: I said nothing.

 WILL: But it was in your head.

ROBIN: True, I would have chosen someone else to rob.

WILL: When you need weapons and supplies, you rob. And the devil care who.

ROBIN: Sir Philip's a good man. And a good friend of mine.

 WILL: Oh, so that's it. He's one of the gentry. He's not really one of us.

ROBIN: Sir Philip treats his people well. The country's full of those who don't. Why don't you rob them?

WILL: Keep your advice until you're asked. Or I'll ram it down your throat.

Close-up of Will and Robin with crossed quarterstaffs

The thing is, of course, that Robin did keep his advice to himself. He did not undercut Will’s leadership until asked. It’s quite a contrast to other versions of the Robin Hood legend where Robin is the outlaw leader and a character such as Will Scarlet in Robin of Sherwood (where his real name is Will Scathlock) or Robin Hood: Prince of Thieves rages against his leadership. Robin is not full of "piss and wind” (to borrow a line from Prince of Thieves about its Will Scarlet who questions Robin's leadership).

Stephen Knight has referred to Richard Greene’s Robin Hood as “squadron leader Robin Hood”. But he’s not the leader yet -- Will is. And Robin respects the chain of command. Still, Robin is not going to throw a fight. He dodges Will’s blows and gives his leader a hard knock on the helmet.

Robin's has had a fellow outlaw named Will with a last name beginning with S since the earliest surviving ballads. In A Gest of Robyn Hode, the character is referred to as both Scarlock and Scatheloke in different sections. This early version of the name essentially means "lock-smasher", a good name for the hardened outlaw of the medieval ballads or indeed this episode. The more common surname of scarlet refers to an expensive type of cloth (usually with an expensive red dye) -- and the Will Scarlet character is sometimes portrayed as a member of the higher gentry or the nobility as befitting such a name. Sometimes, like in Anthony Munday's Elizabethan drama The Downfall of Robert, Erle of Huntington, the 1883 children's novel The Merry Adventures of Robin Hood of Great Renown in Nottinghamshire and the 1952 film The Story of Robin Hood and His Merrie Men, the various Wills are separate characters.  Other times, they are combined into a single character. A Will Scarlet (actually Scarlets - although the different actors are meant to play the same character) will turn up much later in the series.

The Will in this episode is clearly from the lower classes, and he correctly calls Robin out for being a member of the gentry (although not the nobility). Before his outlaw days, Robin was certainly in a privileged position compared to the rest of the gang - although this Robin wasn't an earl or other high rank as in some versions of the legend. Robin doesn't judge the targets based on their rank -- but on their personality. 

Actor Bruce Seton does a superb job at playing the grouchy Will. However, it's somewhat ironic for him to complain about Robin's elevated status. Seton would return in another Sapphire Films production produced by Hannah Weinstein, and written by Ring Lardner Jr and Ian McLellan Hunter (still using pseudonyms) -- The Adventures of Sir Lancelot starring William Russell. Seton would play the lofty King Arthur for the first three episodes. And in real life, upon the death of his brother in 1963, Bruce Seton was elevated to 11th Seton Baronet.

Robin shows his characteristic graciousness and tries to make amends with the leader whose head and ego he had just bruised.

ROBIN: Will, you're a better man than some of your deeds. But it's true so far I haven't earned my keep.

Will makes a noise, blowing trying to brush off Robin and his sense of failure.

ROBIN: Come on, Edgar. Let's go try our hands at our new craft.

Edgar and Robin spot a moneylender in the forest

Robin's First Robbery

Robin and Edgar hide behind a rock waiting to ambush a traveller. Robin is wearing a hat that is similar to the bycocket closely associated with Robin Hood. Edgar spot Herbert of Doncaster who Robin describes as “an unpleasant looking character”. Although no one mentions it, Doncaster bears a striking resemblance to Sir Roger de Lisle. They are, after all, played by the same actor, Leo McKern.

ROBIN: Is he a friend of yours?

EDGAR: The devil he is. I hate moneylenders. Especially that one.

 ROBIN: Tell me the worst about him so that I can commit my first robbery with an easy conscience.

 EDGAR: Well, he comes around in winter when the people are hard put to find food and lends them a few shillings.

 ROBIN: That doesn't sound so bad.

EDGAR: Yeah, but he collect twice as much as he lends. And those that can't pay, his friend the sheriff arrests them.

ROBIN: Excellent. He's our man. To your post.

Robin puts into practice the philosophy he explained to Will. Robin doesn’t merely target the rich. His targets are corrupt, greedy or cruel — people who might deserve to be taught a lesson.

Edgar hides in the trees as Robin befriends the moneylender. Robin’s a master of disguise in the ballads taking on a variety of roles to hoodwink his enemies. And Richard Greene’s Robin has a childlike glee as he buries himself in a part. In this case Robin claims to be a collection agent carrying a full purse. He pretends to be terrified of being robbed by outlaws.

Richard Greene's Robin tricks the Moneylender played by Leo McKern

Robin manhandles the moneylender as he keeps pushing them into hiding. But there’s more to it than taking pleasure in roughing up a bad man. Robin stealthily steals Herbert’s dagger. And when Herbert of Doncaster grows tired of “hurtling into ditches” by his seemingly timid friend, he shares with Robin the secret of where he hides his money. The moneylender keeps most of his money hidden in his boot and then only a few coins for show in his purse.

Edgar emerges from the trees brandishing a large knife,

EDGAR: Hand over your purses.

HERBERT OF DONCASTER: Do what he says.

EDGAR: Be quick about it.

ROBIN: Yes, sir. Yes, sir. We'll do anything you say. [Edgar takes purses] Only please, don't look at our boots.

EDGAR: Boots? [Getting it.] Oh ho, boots, eh? Crafty. Come on, hand them over.

Edgar takes Robin's boot first and finds only a few acorns which confuses and infuriates the moneylender.

HUBERT: Acorns? You said you were a collection agent!

ROBIN: I am. I collect acorns.

Leo McKern's Moneylender figures out Robin is one of the outlaws

Robin has to help Edgar find the secret compartment in the Moneylender’s boots that hides the coin. Edgar gives the game away when he exclaims “Oh, look what your friend collects, Robin.”

Herbert of Doncaster blusters as he realizes “Robin” is one of the outlaws. He threatens the sheriff will hang Robin for this. Robin dismisses him, saying cheerily “Now run along and give my compliments to the sheriff.” Robin and Edgar keep the boots.

It's a bit unfortunate that Alfie Bass only appears in three episodes as Edgar (returning next season for two further episodes in a different guest role). It's no wonder that Bass was a highly successful British comic actor in dozens of TV shows and movies, including as a pie merchant in the 1967 film A Challenge for Robin Hood. He has wonderful chemistry with Greene's Robin as the comic sidekick, much like Much (the Miller's Son, that is) in the 1938 film.

Robin discovers the Moneylender’s client list in his boots. Edgar recognizes the name Hawkins, Robin says “If the moneylender collected double, then half this money belongs to the victims.”

They go to Hawkins’s village to return the money.

ROBIN: Yes. We ran into Herbert of Doncaster on the road and, uh, arranged to do some of his business for him. In November you borrowed two silver marks?

 HAWKINS: True, and I took my pig to Nottingham last week and sold it to pay the debt.

 ROBIN: Hmmm... There must be some mistake.

 HAWKINS: I tell you I've paid. But there's no use trying to collect more because we haven't a farthing left.

 ROBIN: I'm not trying to collect more. It's written here that you paid back four silver marks.

 HAWKINS: Aye. And we shall go hungry because of it.

 ROBIN: I'm not surprised when you pay back double what you borrow. [To Edgar] Give him back two silver marks.

Hawkins and his family are grateful. Another man, Hugh of the Wood, (one of many roles played by Victor Woolf) has his debts paid back too. One has to wonder at this point if the episode’s title The Moneylender refers to Herbert of Doncaster or to Robin.

Robin’s generosity sparks great interest, and he divulges that their headquarters are in Sherwood Forest. Hawkins realizes they are the infamous Men of Sherwood. Robin addresses the rumours.

Robin tells Hawkins these are strange times
ROBIN: These are strange times, Hawkins. When the sheriff protects those that steal and brands us thieves those who return the stolen goods. 

The first part of Robin's statement is undoubtedly true. We saw the sheriff protect Roger de Lisle in the previous episode in his theft of the Locksley estate. But as for "those who return the stolen goods", at the moment that would appear to apply only to Robin and Edgar out of all the "Men of Sherwood".

Robin and Edgar make their rounds leaving small purses attached to the ends of arrows. When one man examines the coins, his wrist is grabbed by a Nottingham soldier who vows to take the arrow to the sheriff.

Getting a Fair Share of the Loot

Meanwhile, a bootless Herbert of Doncaster hobbles into Nottingham as laughter rings out from the townspeople. He storms into seeing the sheriff, who is examining an arrow. Herbert announces that he’s been robbed and outlaws took his boots. The sheriff establishes that Herbert collected the money before he was robbed.

Alan Wheatley's Sheriff of Nottingham examines an arrow

SHERIFF: If you collected 15 pounds, my share is five. Bring it to me this afternoon.

HERBERT: But I told ya. They robbed me!

SHERIFF: Exactly. They robbed you, not me. I expect my share to be paid in full.

It’s scenes like this where Alan Wheatley excels at playing the villain. The Sheriff of Nottingham just doesn't take from the peasants, and Wheatley's deadpan delivery in reaction to McKern's flustered demeanour brings out the comedy while still keeping the sheriff as a touch sinister.  The sheriff wonders how they found the money in his boots, and Herbert of Doncaster admits he told one of them.

HERBERT OF DONCASTER: Well, you don't understand. I thought he was respectable. Like me. He spoke like a gentleman.

SHERIFF: If you can't tell the difference between a gentleman and a cutthroat, you deserve to be robbed.

HERBERT: But I tell you, this one they called Robin would have fooled anybody. Even you.

SHERIFF: Robin? They called him Robin?

The sheriff realizes instantly that it is Robin of Locksley and plans to lay a trap for him. He suggests sending out Herbert with new boots and more gold, but the moneylender wants nothing to do with “that fella”.

It’s a pity that Leo McKern only appears in these two episodes of the series. He’s delightful to watch in both roles, and he plays Herbert of Doncaster very differently than Sir Roger de Lisle. Herbert is not an arrogant and out of touch aristocrat. If Herbert isn't quite a working-class villain, he's certainly more used to working in general than last episode's baddie.

Back in Sherwood we get a parallel to this scene. Robin and Edgar share their booty with WIll. He’s not impressed.

Robin calmly examining arrow as he tells Will they gave half the money back

WILL: You said that there were 15 guineas. Well?

ROBIN: That was before we gave half of them back.

WILL: Before you? What sort of outlaws are you? Robbing and giving back.

EDGAR: To the people it belonged to, not the moneylender.

WILL: Robin, this is your doing. And I give you fair warning, if you're saying with us, you'll follow our rules. We're here to stay alive, to keep out of the sheriff's reach. Not to right wrongs done to others.

ROBIN: If we throw in our lot in with people who are wronged, we stand a better chance of staying alive and out of the sheriff's reach.

Robin pitches his charity as enlightened self-interest to get Will on board. He’s calm while Will is agitated. The scene appears to be a deliberate parallel to that of the one between Herbert of Doncaster and the Sheriff of Nottingham. Both Robin and the Sheriff are calmly examining arrows as the more excitable man talks to them. Both Will and the Sheriff want a greater share of the loot than is readily available.

The other outlaws get word that John of Lincoln is on the Watling Road and his wagon is full of the best wine in Nottinghamshire with no guards. Robin is suspicious as a wine shipment went through last week. But he agrees to go along with Will and the others. Again, Robin defers to the leader and does not try to usurp him.

The Merry Men met travellers on Watling Street in the 15th century ballad A Gest of Robyn Hode.

The Ambush and the Ally

The outlaws ambush the cart and it seems to go well, except John of Lincoln does blow his hunting horn.

But then Robin spots a soldier in the wood and he warns the others to take cover. The outlaw archers including Robin shoot and kill several of the soldiers. However, Will Scathlock is hit by an enemy arrow when he stands up to order the outlaws’ retreat. Robin kills the Nottingham soldier who shot Will, and then he tells the others he’ll cover their retreat.

Robin covers the outlaws' retreat as Will is wounded

Robin is a soldier, and he has no problem killing during combat. He even shoots some of the Nottingham soldiers in the back. The 2006 Robin Hood TV series would take a different approach as its Robin Hood, also a returning crusader, refused to kill for most of the first season.

The outlaws are running out of arrows, but the Nottingham soldiers keep coming.

But Robin spots an ally — Hawkins, the villager he helped earlier is clearing branches in the clearing. Robin throws a branch to get Hawkins’s attention. He waves his hand as if to say “don’t come out”, and then walks over to the trees.

Robin talks to Hawkins

 HAWKINS: Careful, Robin. The sheriff's men are all around us.

ROBIN: We have a wounded man. We need your help.

HAWKINS: Aye, so I see. Make for my home. 'Tis only a hundred paces. And leave the rest to me.

Robin directs the others to take Will back to camp through secret pathways while he and Edgar will hold them off and then hide in Hawkins’s hut.

The sheriff himself arrives to take command. When they spy Robin and Edgar heading to Hawkins’s cottage, the sheriff takes Hawkins captive.

 SHERIFF: Well, why did you let them get into your house?

HAWKINS: Let them? They said they'd kill me.

SHERIFF: You're lying.

HAWKINS: No, I'm not. I hate outlaws. I can prove it to you. You can burn me house down, so long as you wipe them out.

The Sheriff orders Hawkins to burn his house down

 The sheriff takes Hawkins up on his suggestion, and orders the villager to burn his own house down as a way to prove his royalty.

Hawkins tosses the torch on his straw roof. It quickly catches on fire. The sheriff watches to see if the outlaws will emerge.

HAWKINS: They're not coming out. They'll be roasted to death.

SHERIFF: Roasted or hanging, what's the difference?

Little remains of Hawkins' house and the guards leave. Hawkins surveys the ruins with his wife and child. He lifts a stone from the floor, revealing a tunnel. Robin and Edgar climb out. Robin’s past altruism earned them an ally who helped in a time of crisis.

Trust and loyalty versus collaboration are important themes in this series — drawn from the writers’ own experiences with the HUAC investigations and the Hollywood Blacklist.

However, while Robin certainly knew that good deeds would bring trust and loyalty -- as he told Will earlier -- I don't believe we are meant to think that returned the Moneylender's profits as an investment on future success. Robin did so because it was the right thing to do.

Robin makes the sign of the cross as Will Scathlock dies

Robin Becomes Leader

 We hear the mournful strumming of a lute as Robin kneels beside the dying Will Scathlock. Will takes his hand.

 WILL: You were right, Robin. The wine was too costly. Too much blood in it.

ROBIN: What can I do for you, Will?

WILL: Take ... take my place. You're an odd sort, Robin. But I think you're the man they'll remember.

ROBIN: We'll remember you,

Will leans up and addresses his band.

WILL: Follow. Follow Robin. Robin Hood.

At the end of last episode, it was Will who referred to Robin as Robin of the Hood. In his dying breath, he shortens Robin’s outlaw name to its most familiar form. The status quo of Robin Hood as the leader of a civic-minded gang of outlaws is set.

The lute playing stops and Will falls dead. Robin crosses himself. He uses Will's blanket as a shroud to cover the fallen leader. An outlaw hands Will's sword to Robin. Robin takes it to a rock.

Robin grimly says “A brave man's sword should not outlive him.”

He brings the sword down hard on the rock, and it shatters. Robin places the broken hilt on Will's body.

A Brave Man's Sword

Concluding Thoughts

Even though we haven't met many of the most famous Merry Men yet, these first two episodes have set up the show very well. We have a clear sense of who Robin and the Sheriff of Nottingham are and the world they operate in. We get to meet a wide variety of personality types, just a sampling of the many to come in the show's future.

We also moments that parallel the world of the 1950s. Since the truth of the writers became public knowledge in the 1970s, a lot of fans have looked for connections to the writers' lives. I've done so myself a few times on this very page. And yet, I don't think the moral lessons are solely confined for those who share the politics of executive producer Hannah Weinstein and writers Ring Lardner Jr. and Ian McLellan Hunter. We see in Robin an idealized figure who would appeal to fans on either the left or the right. He has a strong sense of justice, empathy, compassion, patience, respectful of differences of opinion and also blessed with a rich sense of humour. 

I've met many people who grew up with this show in the 1950s who said it formed the basis of their morality. And that seems no bad thing indeed.

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