The Adventures of Robin Hood
An In Depth Analysis
of Erich Korngold's score in context of the film
by Julie Olson
The phenomenal score for "Adventures of Robin Hood" by Erich Wolfgang Korngold is one of the high water marks for soundtrack composition, and set the pace for hundreds of film scores during the golden age of Hollywood. Korngold began his work in film after emigrating to the United States in the 1930's. He worked frequently for Warner Brothers Studios and is often associated with the films of Errol Flynn, for which he wrote many of the scores. Among his many well-known film scores are those for "Captain Blood" (1935), "The Prince and the Pauper" (1937), "The Sea Hawk" (1940) and "Of Human Bondage" (1946).
A prime example of musical virtuosity and enthusiasm, Korngold's swashbuckling music for the legendary Robin Hood claims influential responsibility for all adventure film scores to follow. The score for "Robin Hood" is deeply rooted in classical European music with a strong resemblance to opera, sans vocals. After all, Korngold was an immigrant composer from Austria, and his forte was composing operas before arriving in Hollywood. With Korngold and several other notable composers who had come from abroad, the Hollywood symphonic score quickly became a tour de force in the '30s and early '40s, energizing films like "Captain Blood," "King's Row" and "The Sea Hawk."
Korngold arrived in Hollywood with an already accomplished musical career at the age of 37. His first major work was performed at the Vienna Opera when he was just 13, and by age 17, he was considered by many to be an evolved operatic and symphonic composer. It was Max Reinhardt with whom Korngold had worked with before who persuaded him to Hollywood to rework Mendelssohn's music for "A Midsummer Night's Dream" for the big screen. Because of the difficult time in Europe under Nazi regime, Korngold accepted Mr. Reinhardt's offer. Korngold was interested in this new era of musical expression and he became the first international composer in Hollywood.
With the rush of attention that he received, Korngold also found new contracts from picture studios such as Warner Brothers. Because of the exclusivity of the contract Warner Brothers desired, Korngold turned it down. He did, however, through a picture-to-picture agreement, go on to compose 17 major films for them and earn himself two Academy Awards. Korngold's method for composing film music was unique in that he would often receive the script while the film was still being shot. He then would write main themes for each of the main characters, as if it were an opera libretto. He thought of films as operas without singing, and wove each character's theme into the film's core. This created greater knowledge of each character's soul and provided a dramatic support to the plot.
Unlike most film composers of the day, Korngold did not use any mechanical devices to assist him in fitting the music together with the film. Without click tracks, cue sheets, or stop watches, Warner Brothers provided him a private screening room with a piano. He then would run the film and compose sketches to the moving picture which were then fully developed at his home. He made little revisions to the score beyond that point, and punched holes in the film that came across as flashes as the film rolled to signal when the music was to commence. His greatest joy came when it was time to record his work. "What other composer can enjoy the luxury of having a fine symphony orchestra play his music immediately after he has composed it?" he said. Korngold not only conducted all his own scores but also played the piano where it was called for. Orchestra members and stage crew alike loved him. Korngold was famous for his sense of humor, childlike ways, and faithfulness to his work.
Turning our attention to "The Adventures of Robin Hood," let's examine each of the three principal themes as Korngold had composed them - through their characters. The beginning of the film states the theme for Robin's Merry Men. This theme is a happy-go-lucky motive, most often following an ABA form. There is a great sense of hope in the music, as is the case in the Merry Men's faces. From mighty Little John to the corpulent Friar Tuck, the joviality of these outlaws is felt through this main theme. It is also the main thematic idea heard throughout the movie, concluding that it takes the strength of many men purposed in righting the wrong to succeed, and not just the heart of one man. Often times, in Robin Hood stories, Robin's band of jolly outlaws is overlooked, or is looked upon as being secondary to Robin Hood, the man who stole from the rich and gave to the poor. This film depicts them in more of an equal sense through the action on the screen and through the screen time of the Merry Men theme. Focusing on the music itself, the homophonic sound of the Merry Men theme further illustrates the closeness of the men in their struggle. Not only is there one basic melody, but the theme is also mostly homorhythmic. The theme also is driven through these characteristics of the men, by style more than any other musical nuance. Always sounding triumphant and enthusiastic, this theme depicts the Merry Men excellently, and further dives into the characters of this pack of kindly riffraffs.
The second of the three main themes belongs to Robin Hood himself. This is a relatively short motive comparatively, and is driven more by rhythmic complexities. This theme is heard most prominently when Robin and Will come galloping in to save Much, the poacher. This theme has a fanfare sound, and through repetition and marked articulations, Robin sounds like quite the hero. It is also written in the upper register of the principal trumpet, a sound which when played along with other musical concepts, springs out of the texture very effectively. There is also an audacious attitude that goes along with Flynn's wide grin to many of the hardships throughout the film. He talks back as he is being arrested and smiles as though he were enjoying his final battle with Sir Guy. This attitude is depicted wonderfully in both the compositional style of the theme and the performance by the trumpeters. As for the rhythmic complexities stated earlier, the triplets heard in Robin's theme are not heard in predominance anywhere else in the score. It is because of this that the motive gains so much of the listener's attention, whether it is played as a solo or atop a mass torrent of sound given by the orchestra.
Marian's theme is the final of the three main musical ideas heard throughout the score. Here, Korngold relies on rich orchestral textures to deepen a simple and exquisite melodic line. The melody in this theme is very reminiscent of an operatic episode in its great intervals and sequencing. Where Marian is not always present on the screen when her theme is played, thoughts or implications of her presence is always felt by another on screen, most often Robin himself. In this, one could call this the Love theme rather than Marian's theme, however in my study of Korngold's inspirations for main thematic impressions for the film, it is my thought that he was thinking of Marian rather than just love in general. In each of the themes that proceeded it, Marian's theme does also speak of feelings and actions of both her and those around her. The theme really blossoms after Robin's escape from the gallows and when the two meet face to face in her chambers. Here, what once was a still-developing motive becomes a lush, sensuous texture of melody and harmony that could only come from the pen of Erich Korngold and the sound stage of Warner Brothers.
There is another aspect of the score and film that is worth mentioning - the action cues and scenes. There is a lot of swordplay and battles that ensue throughout this film, and Korngold does a wonderful job at bringing these scenes to life. The music is technically straining and invokes an excitement that is seen on each of the character's faces, especially Robin's. He is often caught smiling mischievously as he fights to the death with one of Prince John's rouges. These grins are captured in the action cues through the instrumentation used, the quickly moving notes played, and the harmonic movement given. First, the instrumentation is dominated by short, sharp bursts and runs from the high voices of the orchestra. The violins often have running lines that soar over the ensuing battle. Secondly, the velocity of the notes played is elevated atop the mass confusion of several of these fight scenes (for example, the ambush in the forest and the final battle sequence). Lastly, the harmonies are most often major, always favoring the "good guys." Where I cannot find a single underlying theme throughout these cues, excluding those already discussed, I do feel that these cues are important and done with great attention to detail.
With each of the themes discussed, let us focus our attention more specifically on their usage within some important scenes from the film, beginning with the ambush in Sherwood Forrest. This cue is wonderful and adds a great deal to the film's action on screen. The camera switches between the Merry Men's preparations of the ambush and Sir Guy's caravan through Sherwood. When the camera is on the Merry Men, the Merry Men theme is played. As soon as the camera switches to Sir Guy, riding pompously atop his horse, the music switches to an arrogant-sounding motive played in the strings. This motive also has incessant beats felt through the bass that match up with the horses' steps. This motive juxtaposed with the joyful Merry Men theme creates an unparalleled contrast. When the ambush begins, the Merry Men begin to take over the beginning leg of the caravan; Sir Guy is in the second part of the parade. Woodwind runs downward signal the Merry Men leaping from their trees of hiding to the unsuspecting horses below. The music suddenly comes alive peppered with brass splashes and violin runs over the Merry Men theme. There are times, as well, where men's footsteps are accompanied with percussion bursts. The camera moves back then to Sir Guy and again the music changes to the pompous string motive. The strings also have an air of unsuspecting and ignorance to them this time around. The camera switches back to the chaos ensuing deeper within the forest and back to Sir Guy. As soon as the Sheriff takes notice of what is happening, the string motive is dissolved into the chaos of the Merry Men theme just as the second half of the caravan is swallowed up by the disorder on the screen. Throughout the battle, the music remains joyful, showing the fun that these men are having taking over the caravan. Once the caravan is taken, Robin swings over the group on a vine. A great sweeping harp accompanies his motion across the screen, and the music comes to a close when he has landed on a large rock in front of the ensemble.
When Robin hears of an archery contest with the lovely Maid Marian giving a golden arrow to the winner, he cannot resist and attends the competition in disguise. This scene also uses one of the main themes throughout - Robin's theme. There are also excerpts of the Merry Men's theme there as well. As the contest begins, before Robin is even present on screen, one hears a lavishness of trumpet fanfare that signals to the listener that Robin will be present. This ceremonial brass also gives way to the pomp and circumstance of the event. The music that occurs after this entrance is dashed with Robin's theme and the Merry Men theme, though because the Merry Men are not as present on the screen, their music is not as predominant in the overall sound of the cue. Robin's theme is used as a fanfare to commence arrows flying. The music makes a provision for almost each action seen on the film. Arrows flying and the twang of bows being released is accompanied with percussion bursts and the beginning and ending of phrases. When Robin takes his shot, the music stands still where only a single violin is heard sustaining a high note in tremolo. When his arrow hits his target in perfect precision, his fanfare is heard triumphantly. When he wins the contest, victorious music is played under Robin's theme as the villagers carry him to the royal entourage. When he is set down in front of Prince John and Maid Marian, the music stops immediately with a strong V-I-V-I cadence. There is no music heard until Robin has to run from arrest, where action music comes alive. Again, the motives used are masqueraded with confusing runs and strange harmonic movement. When Robin is captured, and he is again brought before Prince John, the music ceases a second time. As Robin is taken away, the camera moves to Marian. She is full of remorse, and we hear part of her theme played sadly to the expression on her face.
At Robin's execution the following day, the music is somber. A low marimba plays a kind of death march playing a V-I over and over. The music predicts the end of Robin Hood with the finality of this sound. There is great confusion in the music as Robin is brought out in a cart to the villagers. They taunt him and swarm around the cart in drones. The music reflects this with sneering strings in the lower ranges and unclear ideas being presented under the noise and confusion on screen. Robin looks around nervously for any sign of a rescue, and again we hear the death march played in the marimba as he gets hauled to the scaffold. He then sees one of his men, and a trombone reflects a brief moment of hope. As he sees more of his men, the music's confusion and death turns to hope and trust. As an arrow hits the hangman, the music swings into full gear. Robin also jumps on a horse and makes his way through the crowd. The music is commanded by Robin's theme, which rides atop a fantastic burst of orchestra sound as he rides atop his getaway horse.
When Robin finds out that Marian helped plan his escape, he enters her chambers to declare his love for her. Throughout their conversation we hear Marian's theme in its full glory. Korngold uses rich textures over this simple and elegant theme. This scene is worth mentioning simply because it is one of the only instances throughout the film that Marian's theme is heard in its entirety.
The final sequence of the film has splendid use of thematic material. As the Robin and the Merry Men make their way up to the royal castle for Prince John's coronation, we hear the Merry Men's theme amidst a plenty of camouflage. The reason for this musical disguise is because the Merry Men themselves are also in disguise, walking in the parade to the castle. Harmonies are incredibly dissonant, and melodic notes are beaten out of place. There is also a comical tone about the whole scene in premonition of Prince John's capture and Sir Guy's death. Robin's theme is also used as a fanfare to signal the ceremony's beginning. The ceremony is unaccompanied, but the following battle has some of the greatest cues in the film. The action cues move in full force and splashes of the Merry Men theme is heard throughout. When the dual between Robin and Sir Buy becomes the focus of the scene, the swords are exactly with the tempo of the score. The music grows in frenzy and bursts apart as the two men's shadows are shown along a wall of the castle. Throughout this, Robin retains his usual grin and the music's mood also reflects this. Sir Guy makes a good move in the fight and pins Robin up against a wall. Reaching for his dagger, he pushes Robin back a few times. All this is accompanied with a nervous trill heard in the violins. As Sir Guy loses his grip on Robin and lunges to kill him, Robin stabs him. The music gives a chilling chord signaling death is near. Sir Guy stumbles around and falls to his death over a flight of stairs. As he falls, violins move down a run and as the camera shows Sir Guy dead, the orchestra sounds a final chord. Robin must then escape several other men to get to Marian, who is held prisoner in the dungeon. As Robin "persuades" the guard to open the door of her cell, the same nervous trill is heard again. This time, however, it is also heard an octave lower in addition to the high trill. Robin enters the cell and embraces Marian, and a solo trumpet breaks through the trill triumphantly. The Merry Men theme is heard played at a slower tempo as swords are placed in a pile. The fight is over, and King Richard is returned to his throne.
Korngold's use of leitmotive throughout this score enables the viewer to become closer to each character and anticipate several scenes if listening carefully. As stated earlier, Korngold thought of film as opera without the singing. His techniques from his experience composing for opera lent themselves well to the big screen and produced one of the greatest film composers of our time.
Julie Olson is a Bachelor of Music Composition and Music Education Double Major at the University of Wisconsin - Eau Claire.