WRITER: Julian Mitchell DIRECTOR: Declan O'Dwyer
CAST: Jonas Armstrong (Robin), Lucy Grifiths (Marian), Keith Allen (Sheriff), Richard Armitage (Guy Of Gisbourne), Sam Troughton (Much), Gordon Kennedy (Little John), Harry Lloyd (Will Scarlett), Joe Armstrong (Allan-a-Dale), Anjali Jay (Djak) & Michael Elwyn (Sir Edward)
Robin and his gang steal an engagement ring Guy Of Gisbourne intends to present Marian with... and uncover a terrible secret...The episode opens on a very promising note with a stylish flashback to Robin's time in the Middle East, saving King Richard from a Saracen assassin with a distinctive tattoo on his arm. It's a clear reminder that Robin Hood can occassionally rise above its family-friendly doctrine into darker areas. Of course, such injections of adrenaline (when the action matches the rousing music for once) are fleeting.
Tattoo? What Tattoo? (why these awful titles?) is another step in the right direction for the series, bringing some much needed development between Robin, Guy and Marian. This love triangle looks to be forming a decent backbone to show and it's a valuable addition regarding the emotional stakes of the series...
You see, we're supposed to be emotionally connected to Robin's cause (robbing the rich to feed the poor) but it's hard to feel sympathy for these peasants when they all dress so nicely, with clean faces and big bellies! As a consequence, Robin's actions almost seems like an overreaction, so it's much easier to get involved in the show's soap opera side.
Robin soon discovers that brooding Sir Guy was the assassin he encountered in the Middle East, providing a further layer of animosity between the pair, and one that lends the show a more political angle. If King Richard returns, will that really be the end of things if those he left in power usurp him?
Deja vu occurs once again as another outlaw is captured by the Sheriff and thrown in his dungeon (if he'd simply kill every outlaw he captures, he'd have wiped them all out by now!) This time it's Djak (Jay) who is imprisoned, but this series cliche is subverted following Djak's escape attempt using corrosive acid on the jail bars. Of course, once the Sheriff discovers this extraordinary liquid, he immediately forces Djak to make him more...
Julian Mitchell's script is decent enough, although the outlaws' disbelief at noble Robin's claims against psycho Guy is a little hard to swallow. Where's all the trust and loyalty when you need it, eh? The greatest obstacle for writers working on Robin Hood is the restrictive nature of the show's premise -- each plot has to involve certain elements that are difficult to keep fresh and, technically, the production team need to get value from their sets. This means most episodes have to involve a village, the dungeon, the castle, the mine, etc. Mixing these elements and trying to create an original story is difficult, but Mitchell just about manages it here.
Richard Armitage is wonderful as Sir Guy and gets to use his full range of dead-eyed stares here. There is also a lengthy fight sequence with Robin that breathes some old-fashioned mano-et-mano fisticiffs into the mix.
Jonas Armstrong is a likeable lead, but little more at this stage. It's always difficult playing a pure-hearted hero, so it was nice to see some bitterness and hatred bubbling to the surface in this episode. I hope the writers begin to concentrate on making his relationship with Marian more expressive soon, as Robin's jealousy at Guy and Marian's engagement just seems like sour grapes and not a genuine knife through the heart. If we're going to be denied a proper sense of Robin and Marian's love (beyond doe-eyes and sneaked kisses), then perhaps a flashback to their situaiton pre-Crusades is called for?
The comeradie between the outlaws is now more noticeable and enjoyable to watch, although Little John (Kennedy) is proving to be a collossal waste of space. Somebody give that guy a personality, please! I know John is supposed to be an untalkative giant, but it's just not working. Gordon Kennedy isn't even particularly gigantic, so just comes across as just a grouchy middle-aged man amidst all the twentysomethings. He exists to lift heavy items and punch people at the moment. It's even more shameful because episode 2 created a backstory for Little John that has been ignored ever since!
Overall, the new revelations concerning Sir Guy's actions in the Middle East and the interesting acid sub-plot compensates for the episode's shortcomings elsewhere. I'm growing tired of the ease the outlaws enter Nottingham Castle, even though I understand why plausability has to be stretched liek this each week. But it still bothers me.
