THE JASON CONNERY VERSION

Michael Praed left for Hollywood and a part in the glitzy soap opera Dynasty. Whether or not he would have continued playing Robin of Loxley if he had remained in the United Kingdom, or the final death scene of the previous series would have remained is open to debate. What is not open to debate is the fact that him leaving and being replaced by Jason Connery added to the mystic element of the eternal, but ever changing Robin Hood. The third series opened with the usual two part episode. The outlaws have gone their separate ways. Robert of Huntingdon, though called by Herne, has rejected that he is to be the next hooded man. However, his father hosts a party which Maid Marion attends, having been pardoned by the king for her part in the band. An evil lord makes advances towards her and when no one else will defend her Robert fights the evil lord. When the lord kidnaps Marion, Robert of Huntingdon must make a decision, reassembling the outlaw band to rescue her. He takes on the name of Robin and reassembles the merry men.

Here we have the later version discussed in the first part of this dissertation; that of a landed gentleman with a title becoming Robin Hood in contrast to the common born version played by Praed. Jason Connery is fair haired, so we have the hint that he is from Anglo-Saxon stock, rather than the Celtic blood of Robin of Loxley. Historically, the Anglo-Saxons invaded Britain driving the Celts into what is now Wales, Cumbria and Cornwall, oppressing the Celts. With the later Norman invasions from 1066 onwards, the oppressing Anglo-Saxons had found themselves in the position of the oppressed, just like the Celts, who they had by then intermingled with to some extent. It seems natural that this character who fights the rich and aids the poor should move from Celtic blood to Anglo-Saxon blood as the history of this island unfolded, and a new tyrant, the Norman, began to exert such an iron grip on the nation's people. This is, basically, the pattern we see if we examine the ballads. There is an inference here of the shift in thought from regarding Robin Hood as an innately British hero figure to seeing him as exclusively English. Though not an issue as far as Robin of Sherwood is concerned, we can see this shift in the historical material, especially from the reign of Elizabeth I onwards as power was centralised in England and colonisation of the Empire progressed. Richard Carpenter, and the other writers on this series follow this progression from common born to noble born. Robert of Huntingdon is part of the Norman social strata, but rebels against it. Again, there are magical elements in some of the episodes. Episode Five; Cromm Cruac and the final Episode, a two parter entitled; The Time of the Wolf. These feature the character called Gulnar, a sorceror played by the actor Richard O'Brian. These are fundamental morality plays in a way. The eternal fight between good and evil, both on a material level, represented by the Sheriff and Guy of Gisburne, and on a spiritual level with Robin fighting sorcerors. Simple, moralistic tales which might be regarded by some in this post-modernist age as naive, but what is wrong with this concept? The character of Robin Hood has, archetypally, always stood his ground, teaching right from wrong, through ballads, through Mayday rituals, and through the morality and mummer plays of the middle ages. The longevity and popularity of the character is proof that society, or more precisely, community has a need for these type of stories, indeed, demands these type of stories. If this was not so, Robin would be forgotten. We can make the assumption that our age is a sophisticated one, and many stories and television series' have been written where good does not triumph over bad. This may be a sophisticated response, a better informed public that can understand and incorporate the ideology that evil sometimes wins, but does it make us feel better individually, or as a community. Does it improve society. The popularity of this series, televised during a strongly conservative right of centre Government lends support to the idea that there is still a need, even in modern society, for these old tales. The fact mentioned by Professor Stephen Knight that the legend changed from a common born man fighting for freedom, and a noble born man fighting to regain his title and lands is also relevant here, and in connection with the Jason Connery version.

To some extent it could be argued that it is a softening of the legend. From a strongly socialist common man to one who is fundamentally involved in the feudal hierarchy. The Thatcher concepts of centralisation of power, an increase in the gap between the haves and the have nots, etc, all are areas familiar in the tales of Robin Hood. To some extent, it is a more powerful archetype within this context to have a noble born Robin. One who is a member of the ruling classes who turns and fights them for moral reasons is stronger than a common born man who has nothing to lose in fighting, as his life is cheap and miserable anyway. Thus the development of the character in the ballads took place and is interpreted within the Robin of Sherwood series. As was mentioned earlier, a fourth series was planned, but failed to materialise. This meant that the Connery version, which would have been longer than the Praed series' ended being the same length. It also meant that the ends were not so neatly tied when the third series drew to a close. The writers' were ready to pen the fourth series and the general feeling is that the actors were all enthusiastic to take part. The decision, it would, seem was an executive one based, no doubt, on the financial considerations of making the series. The 6.30pm time slot had programmes such as Child's Play and The Price is Right before the first series started on 28th April 1984 and when this series finished its run it was replaced by The Grumbleweeds Radio Show and The Comedians. Both, comparatively, less expensive studio based productions. The earlier 5.30pm slot contained such programming as Fraggle Rock, Knight Rider, and The Return of the Man from Uncle, all U.S. imports. In 1985 when the second series was screened it replaced a talent show; The Fame Game and All Star Secrets a celebrity panel game, and was, itself replaced by a run of feature films or The Grumbleweeds and The Price is Right. The final series replaced The A Team. The programme before the final ever episode was John Silver's Return to Treasure Island; the making of the TV series. This was a multi-million pound production by no other than the same company that had produced Robin of Sherwood; HTV, and it was this series that filled the spot the following week. Thus, money was available to make an expensive series, so the reason for the decision to axe the fourth series remains unclear. Research by the author failing to find a satisfactory answer. What is clear is that this time slot was, eventually, taken over by U.S. imports such as The A Team, Babewatch, etc, as well as Blockbusters and Blind Date.

Source for all scheduling details taken from TV TImes, HTV region
& Radio Times, Wales region. National Library of Wales.
(for more details of schedules and B.B.C. programming at this
time please refer to appendix IV.)