- Description: High Quality printed on archival photographic paper
- Size: 8X12 inches
ROBIN AND MARIAN - DVD MovieThis underrated Richard Lester film is really a classic--and one of the most romantic movies ever made. Working from James Goldman's script, Lester casts Sean Connery as an aged Robin Hood, returned after years away at the Crusades with an increasingly mad King Richard (Richard Harris). Robin and Little John (a very funny Nicol Williamson) return to find that the sheriff of Nottingham (Robert Shaw) is up to his old nasty tricks--and that Maid Marian (Audrey Hepburn) is now a nun. Lester brings the same touch to this period film that he did to
The Three Musketeers and
The Four Musketeers, blending authenticity with a knowing wink at the conventions of period films. But the heart of this film is the very palpable emotion between Hepburn and Connery (and between Co! nnery and Williamson). The ending is guaranteed three hankies, minimum.
--Marshall FineThis underrated Richard Lester film is really a classic--and one of the most romantic movies ever made. Working from James Goldman's script, Lester casts Sean Connery as an aged Robin Hood, returned after years away at the Crusades with an increasingly mad King Richard (Richard Harris). Robin and Little John (a very funny Nicol Williamson) return to find that the sheriff of Nottingham (Robert Shaw) is up to his old nasty tricks--and that Maid Marian (Audrey Hepburn) is now a nun. Lester brings the same touch to this period film that he did to
The Three Musketeers and
The Four Musketeers, blending authenticity with a knowing wink at the conventions of period films. But the heart of this film is the very palpable emotion between Hepburn and Connery (and between Connery and Williamson). The ending is guaranteed three hankies, minimum.
--Marshall FineIt was a Satur! day, I flew home on Sunday. On Monday I asked a colleague at w! ork just how I might go about dating an old manuscript. He told me call Professor Mulligan, at New York University and give his name. I did so and the professor said he could help. He took me to a gentleman who ran a lab specializing in papers. Several days later I had my answer. The sheets that I had given him (I had taken two, both of which were somewhat general and gave no indication of what the actual manuscripts were about), were genuine parchment from what he felt was the 12th or 13th century. Certainly no later than that. He asked where I had obtained them and I told him about the chest. He asked if there were more sheets and I lied and said no. At that point I had no clear idea how I was going to proceed. Had the manuscripts been simply about Robin Hood, I would have gladly collaborated with the proper people to see to it that it became public and let the judgments on its veracity become a part of the academic process. But, it was not just another story about Robin Hood. It ! was a manuscript in two different hands, and one, based on the content, seemed to be that of a woman. They had the eerie ring of authenticity about them and the story they told was so strangely contradictory to the traditional story, that I was reluctant, even determined, not to have them become common knowledge. I had, like so many - young and old - looked to Robin Hood as a hero, a symbol of courage and honor and masculine perfection. I vacillated for a month. Had they been dated as something later, a century or two, I would have considered them nothing more than a clever and well told story written by someone who had intended to have it published as yet another Robin Hood tale.It was a Saturday, I flew home on Sunday. On Monday I asked a colleague at work just how I might go about dating an old manuscript. He told me call Professor Mulligan, at New York University and give his name. I did so and the professor said he could help. He took me to a gentleman who ran a lab sp! ecializing in papers. Several days later I had my answer. The ! sheets t hat I had given him (I had taken two, both of which were somewhat general and gave no indication of what the actual manuscripts were about), were genuine parchment from what he felt was the 12th or 13th century. Certainly no later than that. He asked where I had obtained them and I told him about the chest. He asked if there were more sheets and I lied and said no. At that point I had no clear idea how I was going to proceed. Had the manuscripts been simply about Robin Hood, I would have gladly collaborated with the proper people to see to it that it became public and let the judgments on its veracity become a part of the academic process. But, it was not just another story about Robin Hood. It was a manuscript in two different hands, and one, based on the content, seemed to be that of a woman. They had the eerie ring of authenticity about them and the story they told was so strangely contradictory to the traditional story, that I was reluctant, even determined, not to have ! them become common knowledge. I had, like so many - young and old - looked to Robin Hood as a hero, a symbol of courage and honor and masculine perfection. I vacillated for a month. Had they been dated as something later, a century or two, I would have considered them nothing more than a clever and well told story written by someone who had intended to have it published as yet another Robin Hood tale.This is an 8x12 inch (20x30cm approx) top quality photograph printed on archival photographic paper. This photograph has been produced from a professional scan directly from the original 35mm studio color slide transparency. As this has been scanned directly from our archival original studio transparency you can be assured this is the highest possible quality photograph. Your complete satisfaction is guaranteed
