Editing The Adventures of Robin Hood (section)

===Music score===
In 1938, [[Erich Wolfgang Korngold]] was conducting opera in Austria when he was asked by Warner Bros. to return to Hollywood and compose a score for ''The Adventures of Robin Hood''.<ref name=Thomas>Thomas, Tony. ''Korngold: Vienna to Hollywood'', Turner Entertainment (1996)</ref>{{rp|27}} Music historian Laurence E. MacDonald notes that many factors made the film a success, including its cast, its Technicolor photography, and fast-paced direction by [[Michael Curtiz]], but "most of all, there is Korngold's glorious music".<ref name=MacDonald>MacDonald, Laurence E. ''The Invisible Art of Film Music: A Comprehensive History'', Scarecrow Press (1998)</ref>{{rp|49}} Also, film historian [[Rudy Behlmer]] describes Korngold's contribution to this and his other films:
{{blockquote|Korngold's score was a splendid added dimension. His style for the Flynn swashbucklers resembled that of the creators of late 19th-century and early 20th-century German symphonic tone poems. It incorporated chromatic harmonies, lush instrumental effects, passionate climaxes{{mdash}}all performed in a generally romantic manner. Korngold's original and distinctive style was influenced by the Wagnerian ''[[leitmotif]]'', the orchestral virtuosity of Richard Strauss, the delicacy and broad melodic sweep of [[Puccini]], and the long-line development of Gustav Mahler.<ref name=Behlmer>Behlmer, Rudy. ''The Adventures of Robin Hood'', Univ. of Wisconsin Press (1979)</ref>{{rp|38}}}}

In reply to Warner Bros.’ request, Korngold told studio head of production Hal B. Wallis that he was a composer of drama and the heart, and felt little connection to what he perceived as "a 90% action picture."<ref name=BehlmerAu/> Wallis was persistent, and Korngold finally agreed to begin composing on the condition that he not have a contract, and work on a week-by-week basis so that he could withdraw if he were dissatisfied with the music he composed. However, Korngold later admitted that the real reason he changed his mind was [[Adolf Hitler]]'s November 1937 meeting with Austrian ministers, which convinced Korngold that the situation was no longer safe in his home country.<ref name=BehlmerAu/> As Korngold feared, Austria was [[Anschluss|annexed by the Nazis]], and his home in Vienna was confiscated.<ref name=Behlmer/>{{rp|35}} This meant that all Jews in Austria were now at risk, so Korngold stayed in America until the end of [[World War II]].<ref>Bernardi, Daniel. ''Hollywood's Chosen People: The Jewish Experience in American Cinema'', [[Wayne State University Press]] (2013) p. 48</ref>

Korngold called his film scores "''Opern ohne Singen''", operas without singing, but otherwise approached their composition just as he would for the operatic stage. ''The Adventures of Robin Hood'' was, therefore, a large-scale symphonic work, and despite the studio music department's providing a team of orchestrators, including future Oscar-winner [[Hugo Friedhofer]], to assist Korngold, the amount of work was immense, especially for the limited time he was given to compose. In describing this dilemma to his father, Julius Korngold, one of Vienna's foremost music critics, the elder Korngold suggested that themes from his 1920 symphonic overture "Sursum Corda" ("Lift Up Your Hearts") would serve splendidly for much of the most demanding action-scene music, and Erich agreed.

It also gave him his second [[Academy Award for Best Original Score]] and established the symphonic style that was later used in action films during Hollywood's Golden Age.<ref name=MacDonald/>{{rp|50}} Modern-day epics such as the ''Star Wars'' and ''Indiana Jones'' trilogies similarly included original symphonic scores.<ref name=MacDonald/>{{rp|50}} Composer [[John Williams]] has cited Korngold as his inspiration in scoring the ''Star Wars'' series.<ref name=Hischak>Hischak, Thomas S. ''The Encyclopedia of Film Composers'', Rowman & Littlefield (2015)</ref>{{rp|717}} The love theme of Robin and Marian went on to become a celebrated concert piece.