There’s no disputing the fact that Errol Flynn is a legend of the silver screen, an iconic figure remembered for his swashbuckling roles in The Sea Hawk, Captain Blood, and most notably The Adventures of Robin Hood. But as famous as Flynn may have been for his onscreen escapades, he was every bit as infamous for his flamboyant playboy lifestyle, with a well-earned reputation for hard drinking and womanizing. It’s this side of Flynn that directors Richard Glatzer and Wash West aim to explore in The Last of Robin Hood.
Beverly Aadland (Dakota Fanning) is an aspiring young actress, whose chance meeting with the legendary Errol Flynn (Kevin Kline) on a studio backlot sparks a torrid affair. While Beverly’s overbearing, controlling mother Florence (Susan Sarandon) is understandably suspicious of Flynn’s desire to take Beverly under his wing, she quickly finds herself swept away by Flynn’s undeniable charm, and the prospect of riding her daughter’s coattails to stardom.
Opening with the aftermath of Flynn’s death by heart attack, and the media’s immediate fascination with his underage lover, The Last of Robin Hood is told mostly via flashbacks. The evolution of his relationship with Beverly, portrayed here only with the slightest hint of scandal, coincides with the deterioration of Beverly’s bond with Florence, whose desire to stay in the spotlight finds her willing to sell her daughter’s secrets for a tell-all book about the affair.
As Flynn, Kline paints a tragic image of the aging Hollywood icon, so desperate to recapture the glory days of his youth. His first disturbing encounter with Beverly notwithstanding, Flynn is ultimately shown to be something of a hopeless romantic, willing to put his steadily declining career at risk for the teenage beauty that captured his heart. Sarandon also shines here, bringing Florence to life as what could almost be the prototype for every obsessive show business mother to follow.
Clocking in at 90 minutes, The Last of Robin Hood is given very little time to go much deeper than the surface, and we get the sense that a lot of the more scandalous material has been excised in favor of offering a more palatable version of the events. It’s worth checking out for Kline and Sarandon’s performances alone, but audiences seeking a more in-depth look at Flynn’s later years may come away disappointed.