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In his day, Errol Flynn was known almost as much for his wild, womanizing ways as he was for his swashbuckling films—and his death at 50 in 1959 was just as controversial as his life. The biopic The Last of Robin Hood by the writing/directing team of Richard Glatzer and Wash Westmoreland digs up all the disturbing details of the legendary star’s last days—and his last love.
The Last of Robin Hood stars Kevin Kline as the infamous Hollywood icon, whose death in the arms of impossibly young starlet Beverly Aadland (Dakota Fanning) stirs up a media frenzy. Though the grieving young woman refuses to open up about her relationship with the much-older star, her pushy, attention-grabbing mother, Florence (Susan Sarandon), is eager to step into the spotlight to tell the story of Errol Flynn’s last great love—and the role she played in the strange (and entirely illegal) relationship.
This isn’t a sweet, romantic love story. It’s a film about horrible people doing despicable things—whether it’s a big Hollywood star who uses his celebrity to take advantage of a child or a detached but star-struck stage mother who’s all too eager to play along. As such, it’s often uncomfortable to watch—and that takes away from the film’s basic entertainment value. Sure, it’s wonderfully dishy, digging up the dirt on a Hollywood legend—and its Hollywood history and retro charm still make it a fascinating film—but it isn’t a fun film by any stretch of the imagination. In fact, most of it is just plain sickening.
As you might expect, the characters don’t come off particularly well, either—and if they’re not entirely abhorrent, they’re shamefully bland. Beverly is supposed to be absolutely irresistible—the kind of girl who could attract the attention (and, presumably, the undying love) of a big Hollywood star. Instead, Fanning seems to fade into the background, making poor Beverly seem like little more than a pretty blonde pawn in some creepy (and criminal) game.
Meanwhile, though Flynn obviously isn’t portrayed in the best light, Kline perfectly captures the character. He’s smarmy and spoiled—accustomed to getting his way, no matter what kind of law-breaking or manipulation might be required. And, as an aging star with a waning career, everything he does seems to have just a hint of desperation to it. Of course, he’s also strangely appealing, with an innate ability to charm a crowd—even in the moments before his death. And while his actions may make your skin crawl, he’ll captivate you, too.
The Last of Robin Hood certainly isn’t an easy film to watch—and it could very well tarnish your old romantic notions of the Golden Age of Hollywood. It isn’t a light and fun-filled bio, but if you’re simply fascinated by Hollywood history (no matter how disturbing it may be), this uncomfortable exposé offers an interesting look into old-Hollywood scandal.
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