11 Facts About Robin Hood: Men In Tights

20th Century Fox Home Entertainment
20th Century Fox Home Entertainment

A charming spoof, Mel Brooks's Robin Hood: Men in Tights introduced the world to Dave Chappelle and extolled the virtues of form-fitting legwear. Here’s everything you need to know about the arrow-slinging comedy.


In 1974, Mel Brooks’ smash-hit genre parodies Blazing Saddles and Young Frankenstein became two of the highest grossing movies of the year—with Blazing Saddles beating out The Towering Inferno and The Godfather: Part II for the top spot. Having secured a lasting career for himself in Hollywood, Brooks took a break from cinema so he could pursue a new TV project. The comic joined forces with Norman Stiles and John Boni to co-create ABC’s When Things Were Rotten, a fast-paced, gag-driven sitcom that put a satirical spin on Robin Hood. Starring Get Smart alum Dick Gautier in the lead role, the show relied heavily on anachronistic pop culture references; in one episode, for example, a character named Lord McDonald of the Golden Archers dons a T-shirt reading “Over 1,000,000 Dispatched.”

When Things Were Rotten premiered on September 10, 1975. After three months of lackluster ratings and mixed reviews, the show was canceled just 13 episodes into its run. Brooks would, of course, take another stab at the legendary hero of Sherwood Forest when Robin Hood: Men in Tights was released 18 years later. Incidentally, that 1993 comedy starred a familiar face: Dick Van Patten, who plays an abbot in the film, had portrayed Friar Tuck in When Things Were Rotten.


Despite its impressive showing at the box office, Kevin Costner’s Robin Hood: Prince of Thieves (1991) didn’t win universal praise. Many took issue with the movie’s inconsistent tone and Costner’s half-baked attempt at an English accent. When 11-year-old Jordi Chandler saw it, he told his father, Evan, that the flick deserved to be parodied. As it happened, Evan Chandler was a Beverly Hills dentist whose clientele included Hollywood screenwriter J. David Shapiro. During an appointment, the DDS pitched the idea of a Robin Hood spoof movie to Shapiro, who loved the concept. Together, they put together a screenplay that was later sold to—and heavily revised by—Brooks.


Madeline Kahn made a name for herself by starring in several of Brooks's comedies, including Blazing Saddles, Young Frankenstein, High Anxiety, and History of the World, Part 1. Kahn’s family has stated that she was offered the part of Latrine—Prince John’s manic soothsayer—in Robin Hood: Men in Tights, but turned the role down over salary concerns. On the other hand, Brooks himself says he didn’t cast Kahn because the character wouldn’t receive much screen time. Regardless, Tracey Ullman ended up landing the part.


Robin Hood: Prince of Thieves had an all-star cast that boasted Costner, Morgan Freeman, and Alan Rickman. Sean Connery also made a brief appearance as King Richard, a part he reportedly wanted to reprise in Men in Tights. According to James Robert Parish's It's Good to Be the King: The Seriously Funny Life of Mel Brooks, Connery told the director “that he would repeat his role of the monarch—but this time in drag. However, intriguing as this comic prospect was, he wanted a $1 million salary, which he planned to donate to Scottish charities.” Unable to afford this king’s ransom, Brooks cast Patrick Stewart instead. For better or for worse, the cross-dressing angle was scrapped entirely.


From The Producers's “Springtime for Hitler” to a Sinatra-esque lounge number in High Anxiety, Brooks’s comedies are loaded with songs that the filmmaker either wrote or co-wrote himself. Robin Hood: Men in Tights continued this musical tradition. The legendary director penned the lyrics for Maid Marian’s song, the titular “Men in Tights” number, and both versions of the "Sherwood Forest Rap." Meanwhile, their melodies were provided by composer Hummie Mann. However, neither man can take any credit for “The Night is Young and You’re So Beautiful,” which Robin (Cary Elwes) belts out during a romantic scene with Marian (Amy Yasbeck). Famously covered by Dean Martin, that amorous ballad was written way back in 1937 by Dana Suesse, Billy Rose, and Irving Kahal.


Early on in the Men in Tights casting process, Brooks called Elwes at his home to discuss the project. "He actually called me at home and I thought someone was pulling my leg so I hung up on him," Elwes told Den of Geek in 2014. "He called back and he said 'don’t hang up, it’s really me!' I apologized, but I couldn’t believe he was calling me." In short order, Elwes was cast as the film’s hero. Once he came aboard, Elwes helped Brooks choose an actor to play Ahchoo, Robin’s sidekick. In the end, the part went to an unknown 19-year-old comedian named Dave Chappelle. “We actually cast [him] together,” Elwes recalled. “We saw a lot of actors and when Dave came in, he was just so amazing and we knew right then and there [that] this guy was a star.”


A body of water in Southern California’s Santa Monica mountains that was formerly known as Lake Canterbury was renamed Lake Sherwood in 1921, when a Robin Hood movie starring Douglas Fairbanks shot a few scenes on its shores. Subsequently, this same lake was utilized as a backdrop for certain outdoor sequences in 1938’s The Adventures of Robin Hood, and Robin Hood: Men in Tights did some filming there as well.


“If you put the name Robin Hood on a marquee, then it’s incumbent upon you—nay, it behooves you—to have horses and sword fighting,” Brooks declared in the HBO making-of documentary Robin Hood: Men in Tights: The Legend Had it Coming. “The actors came in every weekend and they worked Saturdays and Sundays just on their sword fights,” Brooks said. These sessions were overseen by fencing coordinator Victor Paul, who also did stunt work on big-budget action films like Die Hard and Armageddon. The bladed weapon specialist found that Elwes was particularly easy to train because The Princess Bride star already had plenty of fencing experience under his belt. “All I had to do was teach him the routines, he knew how to fence,” Paul said in the documentary.

However, Elwes wasn’t quite as adept at archery. Right before the training montage, we see Robin hit a bull's-eye from a few yards away while his merry men look on. At the 2013 Motor City Comic Con, Elwes shed some light on the scene—which turned out to be a rather triumphant moment for him. “I was quite proud of the fact that I got a bull's-eye shooting the bow and arrow because there was a lot of pressure from Mel to get that in a few takes. He said ‘Okay, you’ve got three takes. Get a bull's-eye, let’s go!,'" Elwes shared during a Q&A session. “And I’m like ‘Really, Mel? I’ve only got three? Really?’ And I got it on the third one, thank god.”


Richard Lewis, who played the neurotic Prince John, opened up about his experiences on the set in a 2013 PBS documentary titled Mel Brooks: Make a Noise. Apparently, as production came to a close, Lewis’s health took a sharp turn for the worse. “I was almost done with the film, I had one scene left, [and then] I got Hepatitis A,” the actor recalled. Stricken with a 106-degree fever, Lewis was hospitalized. Amazingly though, this development didn’t stop Brooks from trying to complete his villain’s final scene on schedule.

Completely undeterred, the director called Lewis’s hospital room and announced an elaborate plan to lay Lewis in a stretcher, drive him to the set, and prop the immobilized performer up against some wood so that he could deliver a pair of lines. “You’ll do your two lines, we’ll carry you right back into the stretch, you’ll be back [at the hospital] in 20 minutes,” Brooks told him. “Mel,” a weary Lewis responded, “I’m dying. I think I’m dying. I have a 106 fever. I’m jaundiced.” He then hung up on Brooks, who proceeded to call him back “about 15 times with the same riff” in Lewis’s estimation.


When it came to the film critics, "most of them reamed it,” according to Lewis. “It was disappointing.” Leading the chorus of derision was Gene Siskel, who counted Robin Hood: Men in Tights among his worst films of 1993. “Movie comedy, I think, is threatening to pass Mel Brooks by,” the late critic opined. “When comedies don’t work and everybody in the audience knows it, that is about as low as it gets ... [Brooks] has clearly lost his way.”

Still, like many of Brooks’s later pictures, Robin Hood: Men in Tights has slowly developed a cult following over the years. It has even received some faint praise from a more contemporary Robin Hood: In 2016, Russell Crowe called Men in Tights “the most entertaining version” of the heroic character’s timeless story.


Along with Bruce Springsteen, Dave Brubeck, Robert De Niro, and opera singer Grace Bumby, Brooks was named one of the 2009 Kennedy Center honorees. When asked to comment on this development, Brooks told The Washington Post, “I hope you never find my award on eBay, because you never know ... You run out of cash and wherewithal.” Seated near President Barack Obama and the First Lady, Brooks was presented with a medley of his unforgettable songs. Among other acts, this star-studded revue featured Martin Short’s take on the Blazing Saddles theme while Richard Kind led a jazzy rendition of the Spanish Inquisition number from History of The World, Part 1. Jack Black also took the stage in full Robin Hood regalia to lead a chorus in singing “Men in Tights.” All the while, a gleeful Brooks could be seen mouthing the lyrics to every song from the audience.

Amazon’s Big Fall Sale Features Deals on Electronics, Kitchen Appliances, and Home Décor


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12 Surprising Facts About T.S. Eliot


Born September 26, 1888, modernist poet and playwright Thomas Stearns (T.S.) Eliot is best known for writing "The Waste Land." But the 1948 winner of the Nobel Prize in Literature was also a prankster who coined a perennially popular curse word, and created the characters brought to life in the Broadway musical "Cats." In honor of Eliot’s birthday, here are a few things you might not know about the writer.

1. T.S. Eliot enjoyed holding down "real" jobs.

Throughout his life, Eliot supported himself by working as a teacher, banker, and editor. He could only write poetry in his spare time, but he preferred it that way. In a 1959 interview with The Paris Review, Eliot remarked that his banking and publishing jobs actually helped him be a better poet. “I feel quite sure that if I’d started by having independent means, if I hadn’t had to bother about earning a living and could have given all my time to poetry, it would have had a deadening influence on me,” Eliot said. “The danger, as a rule, of having nothing else to do is that one might write too much rather than concentrating and perfecting smaller amounts.”

2. One of the longest-running Broadway shows ever exists thanks to T.S. Eliot.

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In 1939, Eliot published a book of poetry, Old Possum’s Book of Practical Cats, which included feline-focused verses he likely wrote for his godson. In stark contrast to most of Eliot's other works—which are complex and frequently nihilistic—the poems here were decidedly playful. For Eliot, there was never any tension between those two modes: “One wants to keep one’s hand in, you know, in every type of poem, serious and frivolous and proper and improper. One doesn’t want to lose one’s skill,” he explained in his Paris Review interview. A fan of Eliot's Old Possum’s Book of Practical Cats since childhood, in the late '70s, Andrew Lloyd Webber decided to set many of Eliot's poems to music. The result: the massively successful stage production "Cats," which opened in London in 1981 and, after its 1982 NYC debut, became one of the longest-running Broadway shows of all time.

3. Three hours per day was his T.S. Eliot’s writing limit.

Eliot wrote poems and plays partly on a typewriter and partly with pencil and paper. But no matter what method he used, he tried to always keep a three hour writing limit. “I sometimes found at first that I wanted to go on longer, but when I looked at the stuff the next day, what I’d done after the three hours were up was never satisfactory," he explained. "It’s much better to stop and think about something else quite different.”

4. T.S. Eliot considered "Four Quartets" to be his best work.

In 1927, Eliot converted to Anglicanism and became a British citizen. His poems and plays in the 1930s and 1940s—including "Ash Wednesday," "Murder in the Cathedral," and "Four Quartets"—reveal themes of religion, faith, and divinity. He considered "Four Quartets,” a set of four poems that explored philosophy and spirituality, to be his best writing. Out of the four, the last is his favorite.

5. T.S. Eliot had an epistolary friendship with Groucho Marx.

Eliot wrote comedian Groucho Marx a fan letter in 1961. Marx replied, gave Eliot a photo of himself, and started a correspondence with the poet. After writing back and forth for a few years, they met in real life in 1964, when Eliot hosted Marx and his wife for dinner at his London home. The two men, unfortunately, didn’t hit it off. The main issue, according to a letter Marx wrote his brother: the comedian had hoped he was in for a "Literary Evening," and tried to discuss King Lear. All Eliot wanted to talk about was Marx's 1933 comedy Duck Soup. (In a 2014 piece for The New Yorker, Lee Siegel suggests there had been "simmering tension" all along, even in their early correspondence.)

6. Ezra Pound tried to crowdfund T.S. Eliot’s writing.

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In 1921, Eliot took a few months off from his banking job after a nervous breakdown. During this time, he finished writing "The Waste Land," which his friend and fellow poet Ezra Pound edited. Pound, with the help of other Bohemian writers, set up Bel Esprit, a fund to raise money for Eliot so he could quit his bank job to focus on writing full-time. Pound managed to get several subscribers to pledge money to Eliot, but Eliot didn’t want to give up his career, which he genuinely liked. The Liverpool Post, Chicago Daily Tribune, and the New York Tribune reported on Pound’s crowdfunding campaign, incorrectly stating that Eliot had taken the money, but continued working at the bank. After Eliot protested, the newspapers printed a retraction.

7. Writing in French helped T.S. Eliot overcome writer’s block.

After studying at Harvard, Eliot spent a year in Paris and fantasized about writing in French rather than English. Although little ever came of that fantasy, during a period of writer’s block, Eliot did manage to write a few poems in French. “That was a very curious thing which I can’t altogether explain. At that period I thought I’d dried up completely. I hadn’t written anything for some time and was rather desperate,” he told The Paris Review. “I started writing a few things in French and found I could, at that period ...Then I suddenly began writing in English again and lost all desire to go on with French. I think it was just something that helped me get started again."

8. T.S. Eliot set off stink bombs in London with his nephew.

Eliot, whose friends and family called him Tom, was supposedly a big prankster. When his nephew was young, Eliot took him to a joke shop in London to purchase stink bombs, which they promptly set off in the lobby of a nearby hotel. Eliot was also known to hand out exploding cigars, and put whoopee cushions on the chairs of his guests.

9. T.S. Eliot may have been the first person to write the word "bulls**t."

In the early 1910s, Eliot wrote a poem called "The Triumph of Bulls**t." Like an early 20th-century Taylor Swift tune, the poem was Eliot’s way of dissing his haters. In 1915, he submitted the poem to a London magazine … which rejected it for publication. The word bulls**t isn’t in the poem itself, only the poem’s title, but The Oxford English Dictionary credits the poem with being the first time the curse word ever appeared in print.

10. T.S. Eliot coined the expression “April is the cruelest month.”

Thanks to Eliot, the phrase “April is the cruelest month” has become an oft-quoted, well-known expression. It comes from the opening lines of "The Waste Land”: “April is the cruelest month, breeding/Lilacs out of the dead land, mixing/Memory and desire, stirring/Dull roots with spring rain.”

11. T.S. Eliot held some troubling beliefs about religion.

Over the years, Eliot made some incredibly problematic remarks about Jewish people, including arguing that members of a society should have a shared religious background, and that a large number of Jews creates an undesirably heterogeneous culture. Many of his early writing also featured offensive portrayals of Jewish characters. (As one critic, Joseph Black, pointed out in a 2010 edition of "The Waste Land" and Other Poems, "Few published works displayed the consistency of association that one finds in Eliot's early poetry between what is Jewish and what is squalid and distasteful.") Eliot's defenders argue that the poet's relationship with Jewish people was much more nuanced that his early poems suggest, and point to his close relationships with a number of Jewish writers and artists.

12. You can watch a movie based on T.S. Eliot’s (really bad) marriage.

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Tom & Viv, a 1994 film starring Willem Dafoe, explores Eliot’s tumultuous marriage to Vivienne Haigh-Wood, a dancer and socialite. The couple married in 1915, a few months after they met, but the relationship quickly soured. Haigh-Wood had constant physical ailments, mental health problems, and was addicted to ether. The couple spent a lot of time apart and separated in the 1930s; she died in a mental hospital in 1947. Eliot would go on to remarry at the age of 68—his 30-year-old secretary, Esmé Valerie Fletcher—and would later reveal that his state of despair during his first marriage was the catalyst and inspiration for "The Waste Land."

This story has been updated for 2020.