Staff - Help - Contact Search:
buy this title

Two-Disc Unrated Director's Cut


National Lampoon's Vacation

The War of the Worlds




Robin Hood


  • Theatrical Version
  • Unrated Director's Cut
Release: Oct 04, 2010 - Author: VideoRaider - Translator: Dr. McNinja - external link: IMDB
I. Introduction

In 2009, Ridley Scott sallied forth to recount the world-famous story of the medieval legend that is Robin Hood. Similar to the way it had been done with the British mythical figure of King Arthur in the eponymous movie, an approach as realistic as possible was adopted. Thus, it was Scott's concern to separate the real Robin Hood from the mythical figure - the way the legend could have been. Naturally, Scott took some liberties in doing that. He principally proceeded on the assumption that, even though every legend is inspired by a true incident, the same incident is represented in a skewed manner, due to the various interpretations it has been given through the centuries.
The actual existance of the historical Robin Hood can still not be satisfactorily proven, although numerous sources have been found to be in line with mythical figure. Ultimately, it can be stated that the myth of Robin Hood is, in great parts, only a myth after all. A legend which originated in the Middle Ages and was disseminated over centuries - as usual at that time - through ballads, songs and poems. One of the best-known ballads is "A Gest of Robyn Hode" from the 15th century. Today, it serves as the most important source regarding the historical research on both the mythical and the historical figure of Robin Hood.

„Lythe and listin, gentilmen,
That be of frebore blode;
I shall you tel of a gode yeman,
His name was Robyn Hode.
Robyn was a prude outlaw,
[Whyles he walked on grounde;
So curteyse an outlawe] as he was one
Was never non founde.“

In contrast to the "Gest of Robyn Hode", which is considered to be completely and unalteredly extant, numerous other texts were changed, extended and adapted to the respective circumstances of time and life. While the figure of Robin Hood started as a simple thief, ambushing aristocrats and clergymen, he was represented more and more positive in later centuries. The sneaky waylayer became the Prince of Thieves, the avenger of the dispossessed. The medieval highwayman Robyn Hode became the modern freedom fighter Robin Hood.

Left: Painting by Daniel Maclise (1845) | Right: Robin Hood statue in Nottingham

Ridley Scott now took the myth up again - and he is indubitably not the first filmmaker who not only portrays the legend, but also interprets it his way. Already in the 1920s, a number of Robin Hood movies, starring Douglas Fairbanks, were released. These adventure flicks were produced quite friendly to families, with simple stories and clear cut plot lines. The Middle Ages were portrayed in a very romanticising manner. The same goes for "The Adventures of Robin Hood" from the year 1938, a b&w adventure movie starring Errol Flynn as the bold hero (meanwhile, there are colorized versions of the film available). It is remarkable that this production still enjoys great popularity among filmfans and is in the IMDB-Top-250. The first realistic interpretations followed in the 1970s and 80s. Sean Connery impersonated the hero in "Robin and Marian", his son Jason did the same in the British TV series "Robin of Sherwood". In 1991, another adaption was produced for British TV, starring Patrick Bergin. In several countries, such as Germany and Australia, this movie was even released in theatres. The quality of this film, which was clearly oriented towards the pure legend, is extraordinarily high. However, it stayed in the shadow of the concurrent and very successful Costner film. Costner's portrayal of Robin Hood is unmistakably one of the most renowned and famous adaptions to the subject. Despite its many humorous asides and partially excessive depictions, it can be counted as the most realistic portrayal of the Middle Ages among all the Robin Hood productions - even though it was clearly oriented towards the legend and not a real possibility. Ridley Scott does it the other way around. He wants to show a possible reality, based on the legend.

The Robin Hood legend in the course of time

Initially, Scott's Robin Hood was supposed to take on much more abstract features. The original draft of the script, simply named "Nottingham", concentrates on Hood's classic antagonist, the Sheriff of Nottingham. His portrayal is much more positive - or rather, neutral - while Robin Hood is a tramp in the true sense of the word. Russel Crowe was initially casted for the role of the Sheriff, which also dragged him to the project. In that case, he, as the main character, would have hunted Robin Hood, who would have been merely a phantom. Although this would have been an interesting twist, producer Marc Shmuger was very taken with basic idea, but not the realisation. A complete rewrite of the script ensued, and screenwriter Brian Helgeland set down an almost completely new film. In this new version, Robin Hood should initially play the role of the Sheriff of Nottingham who fell victim to the Normans in the opening battle. In the course of the movie, both roles - only mythical figures, mind you - would have melded. Robin Hood and the Sheriff of Nottingham would have been one and the same person. In the end, this idea was abandoned as well. They returned to the classical legend, embedded in a realistic setting. Even if Scott takes many liberties and builds his story into real, historical events, the basic constellation - the eternal story of right versus wrong - stayed the same.

The actual production of the ultimately resulting film ran quite smoothly. From April to August 2009, they shot in England - at real locations, if you will, around the historical Nottingham. Here, Scott set great value upon attention to detail. Robin's refuge in Sherwood Forest, for example, was built over a year before shooting started - in order to allow the place time to become overgrown and not look like a film set. Unfortunately, all the efforts were not completely worth it. With a worldwide box office gross of $300 million, the film was truly no failure. However, it fell short of the studio's expectations. One of the reasons for this is that the whole history of the production cost the studio an enormous amount of money. Till this day, it is not clearly definable, how much money had to be invested in the project. Officially, there is talk of $130 million. Industry experts, however, assume the actual costs to be as high as $225 million. That is because of the enormously long history of the production of the film, which went through completely different phases. The initally planned movie "Nottingham", which Russel Crowe had already signed in to, was never brought to completion. Nevertheless, Crowe naturally had to be paid off, since he had made himself available for the scheduled period and had declined other projects. For "Robin Hood", Crowe signed a new contract, which goes to show that the finished movie represents an almost new production that simply used already existing elements of the old one. The fact that the film did not become the desired blockbuster has certainly caused Universal's accounts department to worry. Additionally, the audience responded not that well, and so did the critics.

The New York Daily News wrote...

„The problem with Russell Crowe’s new take on the legend is that it has one muddy boot in history and the other in fantasy."

While came to the following conclusion...

„Robin Hood’s biggest problem is its title. It shouldn't have been called Robin Hood, or Nottingham or anything of the sort. Because, in fairness to the slew of critics who have pointed it out and based their entire review on this simple scruple, the film is not about Robin Hood, [...]. What the film is about (a torn England and the people who came together to save it) is fascinating."

Both these excerpts outline the tenor quite well. On the one hand, the visual power and the technical aspects of the film were consistenly lauded. On the other hand, however, it was said that the film was too half-baked content-wise for the part of the audience that expected the classical Robin Hood and too much riddled with elements of the mythical figure for the part of the audience that wanted to see a real implementation of the subject. This might have been due to the capricious history of the production, in which the acutal plot of the film was constantly changed.

Now Ridley Scott tries to make up for this with his director's cut.

II. Comparison of the versions

Crucial scenes have been added to the so-called Unrated Director's Cut. These are supposed to not only deepen the film, but also to make it more comprehensible. For some scenes, alternative shots were used and some more brutal elements were added, in order to emphasise the realistic character of the film. After all, the story is set against the background of one of Europe's darkest epochs. Nevertheless, the unrated cut turned out quite tamely in contrast to other films of the genre. "Robin Hood" did not become "Braveheart". The added depictions of violence confine themselves to some splashes of blood which had to be retouched for the theatrical version. Furthermore, only one battle scene was extended. Regarding the visual content of the scene, however, it had already been seen in similar kind elsewhere in the movie. Thus, it is safe to assume that most of the cuts concerning violent scenes do not represent censorship as such, but were merely made for timing reasons. Of course, this does not apply to the additional blood effects.

The new plot scenes provide a better understanding of the story. They deepen some characters and subplots and give the film a new rythm - especially due to a slightly changed order. In the end, however, many scenes have only been elongated contentswise. The basic structure of the film was not changed, as it had been done, for example, with "Kingdom of Heaven".
Robin, Marion and the runaways do undoubtedly profit from the additional scenes. In the Unrated Director's Cut, the runaways are dealt with in much more detail, which also goes to close some gaps in the plot. Their participation in the final battle seems more plausible now. A direct connection between them and Marion is established, to which Robin also does his bit. In the Director's Cut, it becomes clear that Marion caters for the children and provides them with necessaries, while Robin offers to train them as soldiers. The expansion of this part of the story has another background, of course: for a possible sequel, the runaways and their hide-out in Sherwood Forest would have been of particular relevance, since Hood, hunted by John's henchmen, takes refuge with them. They become his soldiers in the fight against oppression and injustice.

Robin: „I could teach you which wood to get to make your bows stronger. I could teach you how to make arrows that fly more then 20 feet. And I can help Marion teach you how to stay clean, so you won’t get sick. I don’t know who you are fighting, son. But it’s not me. I’m not your enemy. If you want to chat, you know where to find me.“

Other characters, such as William Marshal, also attain higher distinction. In the theatrical version, his role is slightly undecided. In the Director's Cut, he directly intervenes in the proceedings and even requests his old companion in arms, Walter Loxley, to affect the political situation at his side.

Loxley: „I’ve heard something of the baron’s anger against the crown’s tax collector...“
Marshal: „The anger has turned into action. They assemble to march against the King.“
Loxley: „You think you can pursuade the barons to turn back?“
Marshal: „Turn back, no. To join King John against a French invasion.“
Loxley: „A what?“
Marshal: „Help me, Walter.“
Loxley: „I cannot go with you. I cannot speak for this King.“
Marshal: „He is the only King we have.“
Loxley: „But not the only hope.“

As mentioned, the Director's Cut does not provide a whole new film. The story is enlarged upon, but not changed. One who - for whatever reason - did not like the theatrical version to begin with, will have no use for the Unrated Director's Cut. Those, however, who have approved of the film in theaters already, should set their sights on the Director's Cut. Besides, only the German Director's Cut DVD can be considered completely uncut. Read more in the following censorship report: Robin Hood: Director’s Cut (DVD) <-> Director’s Cut (Blu-ray).

III. Censorship Report

Theatrical version

Runtime: 126:41 minutes
Rating: PG-13

Director’s Cut

Runtime: 155:54 Mminutes
Rating: Unrated

In direct comparison, the theatrical version misses 15 minutes and 23 seconds.
Incomplete scenes taken from the US Director's Cut DVD, which this report is based upon, were borrowed from a separate censorship report listing the differences between the Director's Cut versions.

Before the Battle at Chalus, Richard the Lionheart is awoken by a valet in order to have a bath. He starts from his sleep and seems apathetic. Then he douses his head in a bowl of water.

Valet: „Sire, your bath, sire!“
[King Richard starts from his sleep.]

28.8 sec.

During the Battle at Charus, new fighting scenes were inserted. A flaming arrow is shot, which sets the oily ground ablaze. An English soldier whose legs have caught fire, squirms with pain and leaves cover. At that moment, another arrow hits his chest and he collapses dead to the ground.

5.8 sec.

An alternative shot was used for the Director's Cut, showing the explosion at the gate from a new perspective. The alternative shot is minimally longer.

Theatrical version:Unrated Director’s Cut

0.5 sec.

The storming of Chalus has been expanded. Before King Richard whips his troops up for fight, more scenes of the battering ram and the battle were inserted in one block. At that, a French archer falls down from the walls on to a batch of English soldiers.

9.5 sec.

King Richard has been hit in his neck by an arrow and carried into safety behind a barricade. A close-up shot of the stertorous Richard and the questioning look of one of his boyguards were inserted.

3.8 sec.

King Richard calls for his last slug of wine, which is granted him, of course. As he drinks from the wine bag, a mixture of blood and wine flows from the wound in his throat. This has been digitally retouched for the theatrical version and does not represent any time difference.

Theatrical version:Unrated Director’s Cut

No time difference

Changed course of the scene: Maid Marion meets with clergymen in order to obtain some crops for the starving population of Nottinham. In the Unrated Director's Cut, this has been inserted earlier in the film and comes right after the events in Chalus now.

In the theatrical version, this scene sets in at 0:30:30.
In the Unrated Director's Cut, this scene sets in at 0:23:03.

No time difference

Blood retouch Robert Loxley smites an enemy.

In order to find out where King Richard is, Godfrey threatens the noble Robert Loxley to torture him with the lance that is stuck in his chest.

[Godfrey grabs the lance.]
Robert Loxley: „Oh, no, no!“
[Godfrey lets go of the lance.]
Godfrey: „Where is the King?“

4 sec.

Blood retouch Robin's arrow only strikes Godfrey lightly.

Changed course of the scene: The Sheriff of Nottingham starts scuffling with Marion, who is laboriously tilling the fields. This scene was inserted earlier in the Unrated Director's Cut and comes after Robin has buried Loxley now.

In the theatrical version, this scene sets in at 0:42:08.
In the Unrated Director's Cut, this scene sets in at 0:33:31.

No time difference

The following shot is missing in the Unrated Director's Cut.

- 4 sec.

As the ship on which Longstride and his men left France, reaches the mouth of the Thames, the captain informs Longstride that they were setting direct course for the Tower of London on the riverbank.

Captain: „Make ready, Sir Robert! We dock in twenty minutes.“
Robin Longstride: „Gravesend?“

Captain: „No, my lord. The palace docks, Tower of London!“

22.5 sec.

A delegate of the king informs Longstride about the proper behaviour in presence of the king.

Captain: „Good morning, my lord. Some word of advice on this tragic occasion. You appreciate everything must be done correctly, so you will present the crown to lady Eleanor. You’ll go down on the right knee. Don’t look into her eyes when you tell her the king is no more. Do not rise until all other rise. Do you understand?“
Robin Longstride: „Yes.“

27 sec.

The following shot is longer in the theatrical version.

- 4 sec.

As Longstride and his men leave the Tower of London, Godfrey's men directly follow them.

6.3 sec.

While Marion is collecting herbs in the woods, a crowd of children wearing straw masks appears and claims her belongings. Marion recognises the children by their voices and tries to reason with them.

Thomas Cooper: „Forfeit what you got! Victuals, coin, clothing - or your life!“
[Thomas coughs, by which Marion recognises him.]
Marion: „Thomas Cooper... Is that you? Are you sick, Thomas?“
Thomas Cooper: „We’re all sick!“

Marion: „Where are the rest of you?“
Child: „Don’t tell her! Loop will be angry!“
Marion: „No, it’s your mother who’s gonna be angry!“
[Marion pulls a boy near and drops his mask.]

Marion: „Now, either you come with me or I come with you. You choose!“
[The children do not react.]
Marion: „Well, come on then. Where are they? Answer me!“

93 sec.

Changed course of the scene: In the Unrated Director's Cut, the ride of Longstride and his men through the forest sets in much earlier.

In the theatrical version, this scene sets in at 0:51:09.
In the Unrated Director's Cut, this scene sets in at 0:47:44.

No time difference

After Robin has told his men that he was going to comply with Loxley's final request and return his sword to his family, Little John offers his help. But Robin declines - he does not want to put them in needless jeopardy.

Little John: „I am going with you!“
Will Scarlett: „Yes!“
Robin Longstride: „No. Tonight is our last in company. Tomorrow, we go our seperate ways.“

11 sec.

While Robin and his men sleep at the campfire, they are raided by the runaways

Suddenly, a crowd of horsemen appears from the darkness - the children can flee unnoticed.

At that moment, Robin awakes. Just in time to notice the impending surprise attack.

The others awake as well, fighting breaks out. The attackers are repulsed.

During his escape, an attacker is killed in the woods by a trap.

Little John: „Watch your steps!“
Robin Longstride: „One got away.“
Will Scarlett: „Bastards! They’ve stolen my fortune!“

89 sec.

Godfrey's henchmen track Robin and sound out the population.

Henchman: „Four men, five horses - one gray! Have you seen them?“
[The peasant points in the direction and they ride off.]
Peasant: „That way!“

25.5 sec.

Godfrey sneaks through the camp longer.

9.7 sec.

After Godfrey has greeted the French soldiers, they sneak into the English camp in kill the Englishmen in their sleep.

11 sec.

Godfrey meets with one of his men. The man informs him that Loxley had killed his soldiers. Subsequently, Godfrey orders his French soldiers to ride off to Barnsdale.

Godfrey: „Where are your men?“
Soldier: „They are dead, my lord.“
Godfrey: „And Loxley?“
Soldat: „Alive.“
Godfrey: „Then fate has left him to me.“

French officer: „Lets move on! On to Barnsdale!“
[The squad gets under way.]

32.5 sec.

Changed course of the scene: Robin and Marion talk about Marion's late husband.

In the theatrical version, this scene sets in at 1:24:13.
In the Unrated Director's Cut, this scene sets in at 1:20:07.

134 sec.

Blood retouch A monk is slain in York.

While hunting, Robin is caught off guard by the runaways and taken prisoner. In the runaways's camp, his ties are removed. To his surprise, Marion knows the hide-out and is part of the group. Robin promises the children to teach them how to fight, since they had a common enemy.

[Loop, the leader of the runaways, approaches and tells them to stay away from Robin.]
Loop: „Go on! Go on! Has he spoken yet?"
King: „He was spying, Loop."

[Unexpectedly, Marion appears.]
Marion: „Spying? Robert, I am ashamed of you."
Robin: „Hello Marion. I’ve come to save you."
Loop: „Know him?"
Marion: „Boys, this is Robert of Loxley, my husband. Sir Robert, the runaways of Sherwood."
Loop: „Untie him!"
Marion: „No, I don't think spies should be let off so easily."
Robin: „That was unkind."

Loop: „You were a crusader?"
Robin: „Yes."
Loop: „Did you hear that, boys? You bested a crusader! My men are good fighters."
Robin: „I don’t know about that. I think the weight of numbers might have been in their favour. But they do move silently like the creatures of the forest. But that’s only a skill if you stay as a man. You don't become the creature you hunt."
Loop: „We’re soldiers."
Robin: „No, you’re not. Soldiers fight for a cause. What’s yours? You don’t have one. That makes you poachers. Common thieves with a lot to learn."
Loop: „Like what?"
Robin: „I could teach you how to tie knots."

[Suddenly, Robin jumps up. He has already freed himself from his ties with anyone noticing.]
Robin: „I could teach you which wood to get to make your bows stronger. I could teach you how to make arrows that fly more then 20 feet. And I can help Marion teach you how to stay clean, so you won’t get sick."
[Robin helps Loop up.]
Robin: „I don't know who you are fighting, son. But it's not me. I'm not your enemy. If you want to chat, you know where to find me."

[Robin gets his bow and leaves the camp - in an ironical way, he gazes after Marion.]
Robin: „Wife?"

220 sec.

Robin and Marion talk and decide to go for a short ride. At a forest glade, they encounter a group of peasants trying to free a goat caught in a swamp. Marion, being the altruistic woman she is, tries to help the goat on her own and falls into the bog, too. Robin, secured by a rope, jumps in - but rescues the goat first. After Marion is on sure ground again as well, the Sheriff on Nottinham appears. When he claims the taxes of Marion, Robin only gives him one piece of gold.

Marion: „Stop - you will break its neck!“

[Marion wants to rescue the goat from the bog on her own, Robin looks at her bemusedly.]
Robin: „Marion!“

[Marion cautiously wades trough the moor...]
Marion: „Easy...“
[...and falls in.]
Marion: „I’m allright! Uh, I can’t move me legs. I can’t move me legs!“

[Robin, secured by a rope, enters the bog.]
Marion: „Thank you!“
[But to the great displeasure of Marion's, he first rescues the goat.]
Marion: „My lord?"

[The goat is safe. Now Robin turns to Marion.]
Marion: „Oh, is it my turn now?"
[He lifts her out of the bog as well.]
Marion: „Thank you."

[In that moment, the Sheriff of Nottingham comes riding up.]
Sheriff: „Nicely done, Sir. Hahaha. And to see Lady Marions Loxley’s legs, beyond my wildest hopes this morning."
Marion: „I don’t believe you know my husband, Sir Robert. Allow me to introduce the Sheriff of Nottingham."
Sheriff: „Welcome home, Sir Robert. You make your mark quickly by rescuing the King’s ram from drowning."

[Marion and Robert walk over to their horses.]
Marion: „What’s this?"
Sheriff: „What’s mine in coin I have the right to take in goods or livestock."
Robin: „If it’s God’s will."
[Robin produces a piece of gold and chucks it to the Sheriff.]
Robin: „Here’s a ram’s worth of tax for the exchequer. Your insolence to Lady Marion, I’ll consider a debt between us."

134 sec.

The following scene is missing in the Unrated Director's Cut: Robin and Marion ride out longer and shortly look into each other's eyes amorously.

- 16 sec.

The solemnities at the Loxley's were extended. Little John brings a new barrel of mead.

8.7 sec.

For the Director's Cut, an alternative shot of the solemnities was used. Both shots show Will Scarlett playing music, as well as Little John dancing into the screen with an unknown belle. All in all, the shot of the Director's Cut is slightly longer.

Theatrical version:Unrated Director’s Cut

2.2 sec.

William Marshal and his men come riding into the village (intercut of a distance shot of the celebrating village, which was used at a different point in the theatrical version and was thus not added). Marshal talks with the old Loxley about the political situation, when Marion and Robin approach.

[Marshal enters the room, Loxley greets him with a Latin phrase.]
Loxley: „...until lambs become lions!"
Marshal: „How did you know it was me?"
Loxley: „Who else would sit by me uninvited like a friend from the old days? How are you, William?"
Marshal: „I am well and troubled."

[Marshal has taken a seat next to Loxley.]
Loxley: „I’ve heard something of the baron’s anger against the crown’s tax collector..."
Marshal: „The anger has turned into action. They assemble to march against the King."
Loxley: „You think you can pursuade the barons to turn back?"
Marshal: „Turn back, no. To join King John against a French invasion."
Loxley: „A what?"
Marshal: „Help me, Walter."
Loxley: „I cannot go with you. I cannot speak for this King."
Marshal: „He is the only King we have."
Loxley: „But not the only hope."
Marshal: „Explain."

Loxley: „Marion!"
[Marion appears.]
Marion: „I am here, Walter."
Loxley: „This is my old friend, William Marshal. Lady Marion Loxley, my son’s wife."
Marshal: „Lady, I was glad to see Sir Robert when he disembarked in London."
Loxley: „I think you know better, Marshal. Sir William, I know, would like to meet Robin Longstride again."

[Marshal walks over to Robin and greets him.]
Marshal: „We’ve met before."
Robin: „Yes, Sir. I know. In London."
Marshal: „No, when you were a child. Hobby-horse age. Sir Walter and I returned from the holy land to fetch you home. But you’d gone. We had lost Thomas Longstride’s son. It was a wound that never healed."

137 sec.

The Director's Cut uses an alternative shot of the young Walter Loxley, which now also shows the young William Marshal next to him. Both shots are of equal length.

Theatrical version:Unrated Director’s Cut

No time difference

Shortly before the battle at the English coast, Robin and Marshal talk some longer.

Marshal: „Robin, your father was a great man. And you are your father’s son."

9 sec.

Blood retouch A villager and two servants in the castle are slain.

Godfrey kills the old Walter Loxley. In the Director's Cut, a close-up shot of the penetrating sword was inserted.

1.5 sec.

As Godfrey pulls the sword out again, the blood on the sword was retouched.

Theatrical version:Unrated Director’s Cut

No time difference

During the looting of the villages, one scene was added. The soldiers try to rape a villager.

2.7 sec.

Blood retouch Robin slays a Frenchman.

To soften a blood effect, a higher image section was chosen in the theatrical version. Additionally, blood has been added in the Director's Cut.

Theatrical version:Unrated Director’s Cut

No time difference

Some people break down - Little John breaks necks.

1 sec.

The following shot is missing in the Unrated Director's Cut.

- 2 sec.

Robin collars a French soldier and tries to force him to reveal the position where the French army plans to come ashore. In order to do that, he chains him to a wall, aims at him with bow an arrow - and hits.

[Robin interrogates a French soldier.]
Robin: „Who is your officer?“
[He nods his head shortly to the right - towards his officer.]

[Robin turns to the officer.]
Robin: „Where will Phillip land?“
[The officer says nothing.]
Robin: „Where will Phillip land?“
[The officer remains silent. Robin grabs him and presses him against the wall of a hut.]

[As a warning, Robin shoots an arrow near past the officers head.]
Robin: „Where will King Phillip land and when?"
[The officer is silent. Robin shoots an arrow through his left hand. The officer screams, but does not answer.]

26.5 sec.

Robin continues interrogating the soldier until he caves in.

Robin: „This is my last arrow."
Robin: „Dungeness! Dungeness! Two days!"

[Robin walks over to his men.]
Robin: „There we have it. We have two days."

15 sec.

The following shot is missing in the Unrated Director's Cut.

- 1.7 sec.

Blood retouch Robin slays a Frenchman.

For the theatrical version, the blood had to vanish.

No time difference

Blood retouch Godfrey slays an Englishman.

More battle scenes were inserted.

4 sec.

Blood retouch Brother Tuck slays a Frenchman

König John rams his sword into the chest of a prostrated enemy.

1.7 sec.