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The Golden Voyage of Sinbad (1973)

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The Golden Voyage of Sinbad (1973)

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Captain Sinbad

Prince Koura

Sinbad Crewman / Kali stand-in

The Oracle of all knowledge

Fernando González

Art Direction

Production Design

Julián Mateos

Set Dresser

Salvador Gil

Camera Operator

Director of Photography

Costume & Makeup

Gabriella Falk

Costume Design

Verena Coleman

José Antonio Sánchez

Makeup Artist

Colin Arthur

Special Effects Makeup Artist

Assistant Director

Gordon Hessler

Eva del Castillo Ortiz

Script Supervisor

Jeremy Thomas

Assistant Editor

Maude Spector

Andrew Donally

Executive Producer

Charles H. Schneer

Ray Harryhausen

Roberto Roberts

Production Supervisor

Peter Elliott

Miklós Rózsa

Original Music Composer

Doug E. Turner

Sound Recordist

George Stephenson

Visual Effects

Brian Clemens

Screenplay, Story

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The Golden Voyage of Sinbad - Full Cast & Crew

• 69   Metascore
• 1 hr 45 mins
• Drama, Fantasy, Action & Adventure, Kids
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Sinbad finds a magic tablet and tries to keep it away from an evil wizard.

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John phillip law, caroline munro, douglas wilmer, martin shaw, grégoire aslan, seasons (4).

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About the golden voyage of sinbad, full cast of the golden voyage of sinbad, douglas wilmer plays vizier, about douglas wilmer.

Douglas Wilmer was born on January 8, 1920 and passed away 7 years ago at the age of 96 on March 31, 2016.

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The Golden Voyage of Sinbad — Cast & Crew

Special effects, visual effects, gordon hessler.

John Phillip Law

Caroline Munro

Douglas Wilmer

Martin Shaw

Grégoire Aslan

Kurt Christian

Takis emmanuel.

David Garfield

Ferdinando Poggi

Aldo Sambrell

Robert Shaw

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The Golden Voyage of Sinbad

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The Golden Voyage of Sinbad (1974)

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Description by Wikipedia

The Golden Voyage of Sinbad is a fantasy film in Eastmancolor and Dynarama released in 1973 and starring John Phillip Law as Sinbad. It includes a score by composer Miklós Rózsa and is known mostly for the stop motion effects by Ray Harryhausen. The film is the second of three Sinbad films that Harryhausen made for Columbia, the others being The 7th Voyage of Sinbad (1958) and Sinbad and the Eye of the Tiger (1977).

It won the first Saturn Award for Best Fantasy Film.

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Part of collection, related movies.

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Recently, we've done several changes to help out this wiki, from deleting empty pages, improving the navigation, adding a rules page, as well as merging film infoboxes.

You can check out the latest overhauls that we have done on this wiki so far, as well as upcoming updates in our announcement post here .

• 1970s fantasy adventure films
• 1970s monster movies
• American films
• American epic films
• American fantasy adventure films
• American monster movies
• British films
• British epic films
• British fantasy adventure films
• British monster movies
• 1970s English-language films
• Columbia Pictures films
• Epic fantasy films
• Films adapted into comics
• Films based on Sinbad the Sailor
• Films directed by Gordon Hessler
• Films scored by Miklós Rózsa
• Films set in the 8th century
• Films set in Lemuria (continent)
• Films shot in Mallorca
• Films shot in Madrid
• Films using stop-motion animation
• Films produced by Ray Harryhausen
• Films with screenplays by Ray Harryhausen
• Films produced by Charles H. Schneer
• Films set in the Middle Ages

The Golden Voyage of Sinbad

The Golden Voyage of Sinbad is a 1973 fantasy adventure film directed by Gordon Hessler and featuring stop motion effects by Ray Harryhausen . Based on the Arabian Nights tales of Sinbad the Sailor , it is the second of three Sinbad films released by Columbia Pictures , the others being The 7th Voyage of Sinbad (1958) and Sinbad and the Eye of the Tiger (1977). The film stars John Phillip Law , Tom Baker , Takis Emmanuel and Caroline Munro . It was a worldwide box office hit and won the first Saturn Award for Best Fantasy Film .

• 3 Production
• 4 Adaptations
• 5 Home media
• 6.1 Critical
• 6.2 Box Office
• 7 References
• 9 External links

While sailing, Sinbad comes across a golden tablet dropped by a mysterious flying creature. That night, he dreams about a man dressed in black, repeatedly calling his name, as well as a beautiful girl with an eye tattooed on the palm of her right hand.

A sudden storm throws the ship off course, and Sinbad and his men find themselves near a coastal town in the country of Marabia. Swimming to the beach, Sinbad encounters the man from his dream, an evil magician named Koura, who demands that he turn over the amulet. Sinbad narrowly escapes into the city, where he meets the Grand Vizier of Marabia, who has been acting as regent following the death of the sultan , who had no heir. The Vizier, who wears a golden mask to hide his disfigured face, explains that Sinbad's amulet is but one piece of a puzzle, of which the Vizier has another. The Vizier relates to Sinbad a legend, which claims that the three pieces, when joined together, will reveal a map showing the way to the fabled Fountain of Destiny on the lost continent of Lemuria . He who takes the three pieces to the Fountain will receive "youth, a shield of darkness and a crown of untold riches".

Sinbad agrees to help the Vizier in his quest for the Fountain and they join forces against Koura, who is bent on using the Fountain's gifts to conquer Marabia. Koura had previously locked the Vizier in a room and set it on fire, resulting in the disfiguring of the Vizier's face. The creature that dropped the gold tablet was Koura's minion, a homunculus created by his black magic. Koura uses the creature to spy on Sinbad and the Vizier and learn of their plans. When Sinbad and the Vizier discover and catch the homunculus, it destroys itself.

Shortly afterwards, Sinbad meets the woman in his dream, a slave girl named Margiana. Her master hires Sinbad to make a man out of his lazy, no-good son Haroun. Sinbad agrees on the condition that Margiana come along. Koura hires a ship and a crew of his own and follows Sinbad, using his magic several times to try to stop Sinbad. However, each attempt drains away part of his life force, and he ages noticeably each time.

On his journey, Sinbad encounters numerous perils, including a wooden siren figurehead on his own ship, animated by Koura's magic, which manages to steal the map, enabling Koura to locate Lemuria. The wizard uses another homunculus to overhear the Oracle of All Knowledge describe to Sinbad what he will face in his search for the Fountain. Koura seals the men inside the Oracle's cave, but Sinbad uses a makeshift rope to get everyone out. Haroun manages to destroy the homunculus as it attacks Sinbad. After he is captured by hostile natives, Koura animates a six-armed statue of Kali , causing the natives to set him free. Sinbad and his men arrive soon after, fight and defeat Kali. As she falls and breaks apart, they find the final piece of the puzzle within Kali's shattered remains. The natives capture Sinbad and his crew, but after they see the eye tattoo on Margiana's hand, they instead decide to sacrifice her to a one-eyed centaur , the natives' God of the Single Eye and the Fountain's Guardian of Evil.

Koura arrives at the Fountain of Destiny. When he drops the first piece of the tablet into the Fountain, his life force is restored. He then summons the centaur, which fights the Fountain's Guardian of Good, a griffin . Meanwhile, Sinbad and the others escape, rescue Margiana and reach the Fountain. They watch as the centaur kills the griffin with Koura's aid, then Sinbad slays the centaur. Koura drops the second piece into the Fountain, which turns him invisible (the "shield of darkness"), and engages Sinbad in a swordfight. Sinbad is barely able to fend off his invisible foe, until Koura makes a fatal mistake by stepping in the Fountain itself, which reveals his silhouette, enabling Sinbad to kill him. Sinbad then drops in the third piece, and a jewel-encrusted crown rises from the depths. Instead of donning it, Sinbad gives the crown to the Vizier. When the Vizier dons the crown, his mask dissolves, revealing his restored, unscarred face.

Their quest completed, Sinbad and his crew journey back to Marabia. When Margiana asks him why he did not take the crown himself, Sinbad explains that he enjoys his freedom more than kinghood. With Margiana as his wife, and Haroun as a new member of his crew, they sail into the sunset.

• John Phillip Law as Sinbad, the protagonist
• Tom Baker as Prince Koura, the main antagonist of the film ( Christopher Lee was a front-runner to play Koura). Baker's performance helped him get the lead role of the Fourth Doctor in the TV series Doctor Who , because the show's producer, Barry Letts , was impressed with his performance. [1]
• Takis Emmanuel as Achmed (Emmanuel was dubbed by Robert Rietti )
• Caroline Munro as Margiana (Munro was well known at the time for being featured in advertisements for Lamb's Navy Rum)
• Douglas Wilmer as the Grand Vizier of Marabia
• Grégoire Aslan as Hakim (as Gregoire Aslan)
• David Garfield as Abdul (as John D. Garfield)
• Kurt Christian as Haroun
• Martin Shaw as Rachid
• Aldo Sambrell as Omar
• Robert Shaw as the Oracle of All Knowledge (uncredited)

Screenwriter Brian Clemens helped Munro land the role of Margiana:

"I got the part – I had been signed by Hammer, for one year, for a contract, out of which I did two films, one being Dracula AD 1972 , and the second one being Captain Kronos – Vampire Hunter , which, kind of, would come full-circle, to Sinbad . It was written and directed by Brian Clemens, who wrote the screenplay for The Golden Voyage of Sinbad , so, I was lucky enough to be chosen for Captain Kronos , and they were searching for somebody to do Sinbad , and they wanted a big name, somebody American, or well-known, but Brian said "No". He kept lobbying Charles Schneer [producer] and Ray Harryhausen — saying: 'I think you should come and look at the rushes, and see what you think, because I think she's right'. So, they said "No", but, eventually, Brian persuaded them to do that, and they saw the rushes, and that was how I got the part." [2]

Production [ ]

Template:Tone

Producer Charles Schneer and actress Caroline Munro in Amsterdam for the premiere of The Golden Voyage of Sinbad.

Schneer said he and Harryhausen chose to do another Sinbad movie as they "felt it was time to go back to the Arabian Nights, since no one else has been dealing with it and we had a great success with it in the late fifties. We felt there was a new audience that was ready for it. We knew of no other producers who were considering this type of material, largely because they probably didn’t know how to handle it on a basis where it became economically viable."Stub Harryhausen did a dozen master sketches which, Schneer said "we felt would be intriguing and interesting and characteristic of the period." They then hired Brian Clemens to do a screenplay based on the sketches. Harryhausen was given a co producer credit in this film to reflect his greater involvement in the writing, editing and casting process.Stub

Schneer says Law was cast at the suggestion of Columbia. "He wasn't very athletic, and he didn't handle a sword as well as Kerwin did," said the producer. "Frankly, he was kind of flat-footed, but he did the best he could. He used a Middle Eastern accent that I wasn't altogether pleased about, either." [3]

Caroline Munro was given the female lead. Schneer said "We wanted her to project that sex appeal, because that was what was happening at the time in the film business. But we were still making a G-rated picture, so we went for G-rated sex appeal." [3]

Producers Charles Schneer and Ray Harryhausen based their production in Spain ( Madrid as well as the island of Majorca ) to take advantage of the local rugged scenery. At one point the possibility of filming some scenes at the landmark Alhambra palace in Granada was raised; however, rental fees demanded by local authorities proved prohibitive. Eventually the company was able to film at the Royal Palace of La Almudaina . Other scenes were done in the Caves of Artà (the temple of the Oracle) and the Torrent de Pareis [4]

It was filmed from June 19, 1972 to August 1972.

An early charcoal/pencil illustration showed the one-eyed centaur battling a giant Neanderthal -like creature, who was later ultimately replaced by a griffin in the final version. The idea of the Neanderthal was later featured in Sinbad and the Eye of the Tiger (1977). [5]

Adaptations [ ]

• Marvel Comics published a two-issue adaptation in Worlds Unknown #7–8 (June & Aug. 1974). [6] Titled The Golden Voyage of Sinbad: Land of the Lost, it was scripted by Len Wein , penciled by George Tuska and inked by Vince Colletta .

Home media [ ]

The film was released in the United Kingdom on VHS in 1991.

Blu-ray ALL America - Twilight Time - The Limited Edition Series [7]

• Picture Format: 1.66:1 (1080p 24fps) [AVC MPEG-4]
• Soundtrack(s): English (DTS-HD Master Audio 5.1)
• Subtitles: English HoH
• Isolated Score (DTS HD Master Audio 5.1)
• Mysterious Island [Featurette] (11:13)
• The Three Worlds of Gulliver [Featurette] (7:12)
• Earth vs. the Flying Saucers [Featurette] (11:52)
• Theatrical Trailer (2:47, 1080p)
• Case type: Keep Case
• Released: Dec 10, 2013
• Notes: Limited to 3,000 copies (none are numbered).
• Blu-ray series: The Fantastic Films of Ray Harryhausen (along with The 7th Voyage of Sinbad , Jason and the Argonauts and Sinbad and the Eye of the Tiger ) [8]

Reception [ ]

Critical [ ].

The film had modestly favourable reviews. Rotten Tomatoes has given it a rating of 73% from 14 critics.

Box Office [ ]

In the United States and Canada, the film was a box office success with a total revenue of $11,000,000, including $5,000,000 in rentals, bringing its total gross to $16,000,000 - the equivalent of $78,227,342 in 2016 dollars. [9] The film was completed for $982,351, a remarkably small sum, even for a film in the early 1970s. (citation needed)

Overseas, the film sold 37 million tickets in the Soviet Union [10] and 527,437 tickets in France, [11] for a combined total of at least 37,527,437 tickets sold overseas.

Columbia did not enjoy the spoils of the film's success as they had sold off all their interest in its 1974 slate to Bright-Persky Associates. [3]

On 25 February 2018, filmmaker John Walsh , a trustee of the Ray and Diana Harryhausen Foundation gave a talk at the historic Regent Street Cinema for a special 45th anniversary screening of a restored version of The Golden Voyage of Sinbad , along with Caroline Munro . [12] John Walsh revealed how Harryhausen's legacy has improved with age. "What's fascinating is that since Ray retired, he's become more popular. All those young people who saw his films in cinemas are now making films, like Peter Jackson . And when Ray left us in 2013, George Lucas said that without Ray Harryhausen, there would likely have been no Star Wars . His place in the world of film and special effects is unrivalled." [13]

Sources [ ]

• Scapperotti, Dan R; Bartholomew, David (1974). "The Golden Voyage of Sinbad" . Cinefantastique . Vol. 3 no. 2. pp. 4–5, 42–45 – via Internet Archive.

External links [ ]

• The Golden Voyage of Sinbad at the TCM Movie Database
• The Golden Voyage of Sinbad at All Movie Guide

The Golden Voyage of Sinbad at the American Film Institute Catalog Script error: No such module "EditAtWikidata".

Template:Saturn Award for Best Fantasy Film 1973–1990 Template:Gordon Hessler Template:Ray Harryhausen Template:Sinbad the Sailor

• 1 Beetlejuice

Adventures in Fantasy Literature

The greatest harryhausen: the golden voyage of sinbad, tuesday, september 15, 2009 ryan harvey comments 16 comments.

“Every voyage has its own flavor.”

Recently on this blog, I wrote about one of the more ignored of Ray Harryhausen’s films, The 3 Worlds of Gulliver . This inspired me to review two other films of his that don’t get enough attention—the underwhelming H. G. Wells adaptation The First Men in the Moon (1964) , and the wonderful but financially unsuccessful The Valley of Gwangi (1969)—on my own blog. Now I think I owe the legendary effects animator and fantasy film producer some time with one of his most popular films.

The Golden Voyage of Sinbad is not only one of Harryhausen’s most financially successful movies, but is also, in my Harryhausen-loving fan-obsessed opinion, the greatest piece the special effects maven ever worked on. I think that it’s not only Harryhausen’s best movie, but also one of the finest heroic fantasy films ever made.

Morningside Productions, Harryhausen’s and his producing partner Charles H. Schneer’s company, had experienced a financial disappointment with 1969’s “cowboys ropin’ a dinosaur” adventure The Valley of Gwangi , and the gap between it and The Golden Voyage of Sinbad was the longest yet between their movies. The two men decided to turn the clock back and re-visit the figure who had brought them to prominence in the first place: Sinbad the sailor. The major success of 1958’s The 7th Voyage of Sinbad had allowed them to take the path of colorful fantasy and period science fiction, and the character was one who could have a variety adventures. Harryhausen had done some sketches in 1964 for a new Sinbad story, and now had the opportunity to realize the project. Both those early sketches reached the final film almost unchanged.

Once Schneer felt that Harryhausen had created a detailed enough step-outline for a script, he brought on Brian Clemens, the creator of The Avengers (the British TV show, not the U.S. superhero team) and later director of Captain Kronos, Vampire Hunter (1974), to craft the screenplay. The final script is the best for a Harryhausen project, with shaded characters and a feel for the fantasy period. The plot is a typical “quest tale” with magic items leading to a great treasure. Captain Sinbad (John Phillip Law) sails to the lost island of Lemuria to find the third piece of an amulet that will lead to a pack of treasures and magical gifts and other assorted goodies. Going along with him on the voyage are the Vizier of Marabia (Douglas Wilmer), who wears a golden mask to hide his burned face; the beautiful serving girl Margiana (Caroline Munro), whose tattoo of an eye on her palm may have a connection to a dream of Sinbad’s; and lazy young Haroun (Kurt Christian), a comic relief character who comes as a package deal with Margiana. Opposing Sinbad is Prince Koura (Tom Baker), skilled in the black arts, who has plagued Marabia in his quest to learn the route to Lemuria.

The plotting is a bit sloppy, but no more so than in the style of a “one thing after another” movie serial. What really makes Clemens’s script work is its feel for the Sir Richard Burton-style of English “Orientalism.” The aura Clemens creates through dialogue full of maxims, aphorisms, and exotic turns of phrase (“You are also a thief, and a thief is a king until he is caught!”) is that of a nineteenth-century version of The Thousand and One Nights , and it helps to create an aura of the fantastic for Harryhausen to work his magic. According to Harryhausen, an expert on Arabian folklore apparently lent a hand with some of the aphorisms, such as the thrice-told joke, “Trust in Allah . . . but tie up your camel.”

Harryhausen and Schneer were astute in the choice of Gordon Hessler to helm the picture. Hessler does the finest directorial work ever work on a Harryhausen movie. These films aren’t “director’s films” because the tight budget and the emphasis on special effects scenes means that most of the action has already been carefully plotted and boarded before the director even starts, and the scriptwriting arises out of “sweatbox sessions” that have to work in tandem with budget and VFX requirements. Consequently, most directors on the Harryhausen-Schneer epics are journeymen instead of auteurs . But Hessler, who started in British horror films like Scream and Scream Again and The Oblong Box , was the total package: he brought enormous vision to the picture, operated well within Harryhausen’s requirements, collaborated on script development, and did superb work with actors. Hessler shows a feel for the material that’s missing in some of the other movies in the series (compare it to the follow-up, Sinbad and the Eye of the Tiger , where Sam Wanamaker directs the movie like an episode of Columbo ). Hessler must have loved the fantasy of the production, and the adoration comes through in the final product. A shame he couldn’t later get KISS Meets the Phantom of the Park (1978) to work the same way, but look what he had to work with.

But Tom Baker wins my personal award for the Best Performance in Any Ray Harryhausen Movie. Baker, who would soon take on the role of the Fourth (and most beloved) Doctor in the British TV series Doctor Who , has piercing eyes and a voice that demands that you listen—or die! He treats Koura’s villainy with gravity and constant brooding menace. He can handle Clemens’s lines like “Make obeisance to me!” with natural flair, and he makes Koura’s rapidly increasing age believably painful. Sinbad refers to the wizard as “a great black bat of man,” and he’s exactly right. There’s something akin to Bela Lugosi during his prime in the way Baker attacks the part (Harryhausen saw something of Conrad Veidt’s evil sorcerer from The Thief of Bagdad in him, one of the reasons he was cast), and he’s one of the finest evil wizards in cinema. He acts perfectly in his scene across from one of Harryhausen’s stop-motion creations, the tiny winged homunculus the wizard uses to spy on his adversaries.

The homunculus is the first stop-motion marvel to appear in the movie, flying over Sinbad’s ship with one section of the amulet that will drive the plot in its claws. But its major scene occurs when Koura creates a second one after the destruction of the first. This is a good example of Harryhausen creating a real “performance” through his animation, as the homunculus gropes to life and then nervously paces before Koura before it decides it can trust and serve the man.

The second “wonder” to appear is the female-shaped figurehead of Sinbad’s ship that Koura animates so it can retrieve a map that he needs. This is relatively the weakest VFX sequence, which means it’s still very good. The limitation of the figurehead’s movement on the cramped deck of the ship means the scene can’t break out and go wild, and a wooden monster by necessity is going to move stiffly. However, the moment when one of sailors buries an axe into the figurehead’s chest is a great bit; Harryhausen exchanges the weapon in the actor’s hand in the live footage for a miniature one jammed into the model of the figurehead on his animating table so smoothly that you need to watch frame-by-frame on DVD to catch the switch.

In Ray Harryhausen’s extensive catalog of visual effects sequences, I think that only the Medusa encounter in Clash of the Titans can beat the Kali duel. Although it involves a single creature, it required just as much work for the animator to execute as the skeleton brigade in Jason and the Argonauts . The immense complexity of a multi-armed living statue flashing around six swords in continual motion makes me wonder if Ray Harryhausen was completely insane to even attempt this. But I’m glad he did: the final product is breathtaking.

The story reaches its climax with two more monsters, a centaur and a gryphon. The centaur is only loosely linked to the Greek mythological version: this one is enormous, has blue skin, a single eye, and eats people. The gryphon appears suddenly in the conclusion to represent the side of good (the creature had a better build-up in earlier versions of the script), and the two beasts get involved in an exciting tussle before the Fountain of Destiny. This is another sequence that must have required intense patience to finish, with hooves, wings, tails, arms, and mouths in constant motion.

But Harryhausen still has one more effects sequence to go after the death of the two beasts (and the centaur goes rather nastily). Koura duels Sinbad to the death, but through the magic of the Fountain of Destiny he makes himself invisible except for his sword. The dancing scimitar in the air is achieved wonderfully, making for an exciting fantasy swordfight.

Harryhausen’s work on The Golden Voyage of Sinbad was phenomenal enough that it won the Oscar for Best Visual Effects that year… wait, let me check my notes. Oh, I’m sorry. It wasn’t even nominated. The winner that year was Earthquake. Kill, Kali! Kill our enemies! Kill them all!

Harryhausen and Schneer were often fortunate in the composers they managed to hire, and for The Golden Voyage of Sinbad they got Miklós Rózsa out of semi-retirement to provide the sweeping, grandly romantic Arabian sound to match the images. Rózsa’s score isn’t as creative as Bernard Herrmann’s from The 7th Voyage of Sinbad , but it has the feel of the 1940s fantasy films that Rózsa did for Alexander Korda, such as The Thief of Bagdad , before he turned into principally a film noir and Biblical epics composer. It must have been a wonderful visit to an old friend for Rózsa, and the music sounds like he had a grand time, even with the reduced orchestra size.

The Golden Voyage of Sinbad made up for the failure of The Valley of Gwangi when it turned into a significant international hit. It came at the right time, in a mid-‘70s desert of fantasy films right before Star Wars changed everything. Harryhausen has great affection for it among his films: “. . . as far as I am concerned, it is another personal favourite, one in which all the ingredients came together successfully.” Schneer and Harryhausen moved quickly to make a new Sinbad film, Sinbad and the Eye of The Tiger , which came out in the 1977—and unfortunately does wrong almost everything that The Golden Voyage does right. Amazingly, although the sequel cost three times the amount of The Golden Voyage of Sinbad , it looks far shabbier.

More than thirty years after its premiere, The Golden Voyage of Sinbad still has the special glow of childhood fantasy, seeing artists working together to create a film that transports the viewer to another place and time for one hundred wonderful minutes.

Now, death to our enemies, Kali!

Ryan Harvey is a veteran blogger for Black Gate and an award-winning author. He received the Writers of the Future Award in 2011 for his short story “An Acolyte of Black Spires,” and has two stories forthcoming in Black Gate and a number of ebooks on the way. You can keep up with him at his website, www.RyanHarveyWriter.com and follow him on Twitter.

It’s funny: Just yesterday I put this in my Netflix queue because I figured my boys are old enough to enjoy it.

My favorite Harryhausen for all the reasons you mention. 7th Voyage is too ’50s, too clean and manicured, with Kerwin Mathews too central casting; and Eye of the Tiger lacks any charisma or tension (a giant walrus? Really? Your idea of fantasy adventure is a battle with a giant walrus?). But Golden Voyage captures the exoticism perfectly: the men have beards and wear turbans; everyone shimmers in their sweat; Law embodies the seafaring rogue of the stories using cleverness and swashbuckling to save the day; and Munro fascinates with her dark eyes and tunic open to the South Pole. And Baker! He and his basso profundo steal every scene he’s in.

Great review. Didn’t realize that was Robert Shaw as the Oracle, nor that it was shot in Spain — just like another favorite film of mine set during days of high adventure.

Childhood would not have been the same without these Harryhausen movies. Been too long since I’ve seen this, thanks for the reminder.

Based on the fond memories of adolescence, I bought a bunch of the Harryhausen movies in my late 20s. Golden Voyage is the only one I kept, and it still gets watched. Great movie.

But. I have never liked the centaur/griffin battle, and I’ve always found the oracle embarrassingly bad.

Ryan, I’d be interested in your take on Captain Kronos, Vampire Hunter . I’ve watched it 1.5 times and don’t yet know whether I like or not (meaning it will probably have to get netflixed this winter).

My opinion on Captain Kronos, Vampire Hunter ? That’s an easy one, I wrote a review of it a few years ago:

http://www.swordandsorcery.org/mov-captainkronos.asp

I remember seeing this one in a local theater as a kid! Inspired weeks and weeks of my brother and I “playing Sinbad.”

Excellent review, Ryan!

I was just talking to someone about the Kali duel in this. There’s something about the sense of presence and solidity to the statue that I feel like is rarely recaptured in other films, especially CGI-heavy stuff.

Thanks, Ryan. And I see you love Miss Munro in that one, too. 🙂

Yes, I’m definitely in the ”‘70s Caroline Munro” fanclub. I love how she flirts with 007 while trying to gun him down from a helicopter in The Spy Who Loved Me —shame she wasn’t in it more!

Braak, you’re very right about the solidity of Kali in that scene. She has a tremendous presence in it, a sense she could really slice n‘ dice you. I think it’s because her movements aren’t smoothed over the way CGI would be today that she seems more intimidating—as if a wizard really were controlling her, and not people at a computer.

[…] It Came from Beneath the Sea, had scored two major successes with Sinbad movies during the 1970s, The Golden Voyage of Sinbad (1974) and Sinbad and the Eye of the Tiger (1977). The second one, however, was not one of their higher […]

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The Golden Voyage of Sinbad will finally be getting a Blu Ray release in December on the Twilight Time label.

http://www.screenarchives.com/

The Golden Voyage of Sinbad

Cast & crew.

38 Facts About The Movie The 7th Voyage Of Sinbad

Written by Suellen Yung

Modified & Updated: 30 May 2024

Reviewed by Jessica Corbett

The 7th Voyage of Sinbad is a classic fantasy adventure film that has captivated audiences for decades. Released in 1958, the movie tells the story of Sinbad and his crew as they embark on a perilous journey filled with mythical creatures, treacherous sorcerers, and exciting escapades. Directed by Nathan H. Juran and produced by Charles H. Schneer, The 7th Voyage of Sinbad is widely regarded as a landmark film in the genre, known for its stunning visual effects and groundbreaking stop-motion animation by Ray Harryhausen. This article will delve into 38 fascinating facts about The 7th Voyage of Sinbad, shedding light on its production, impact, and enduring popularity.

Key Takeaways:

• The 7th Voyage of Sinbad” is a 1958 fantasy film based on the adventurous tales of Sinbad the Sailor, featuring iconic stop-motion animation by Ray Harryhausen and thrilling sword-fighting scenes.
• The movie’s success led to a franchise of Sinbad films, a popular Universal Studios attraction, and a dedicated fan base, showcasing the enduring influence of this classic adventure.

The 7th Voyage of Sinbad was released in 1958.

This classic fantasy adventure film, directed by Nathan Juran, mesmerized audiences upon its release.

The movie is based on the tales of Sinbad the Sailor from One Thousand and One Nights.

The adventurous stories of Sinbad have captivated readers for centuries, and this film brings them to life on the big screen.

The iconic stop-motion animation in the film was created by Ray Harryhausen.

Ray Harryhausen’s innovative special effects brought the creatures and mythical beings in the film to life in a truly remarkable way.

One of the most memorable creatures in the movie is the Cyclops.

The Cyclops, with its single eye and towering stature, remains an enduring symbol of the film and is often associated with The 7th Voyage of Sinbad.

The film was a major success at the box office.

Upon its release, The 7th Voyage of Sinbad received positive reviews and became a commercial hit, solidifying its place in cinematic history.

The movie was nominated for an Academy Award for Best Visual Effects.

The groundbreaking special effects in the film earned it a well-deserved nomination at the prestigious Academy Awards.

The leading role of Sinbad was played by Kerwin Mathews.

Kerwin Mathews brought charm, bravery , and charisma to the character of Sinbad, making him a beloved cinematic hero.

The movie features a thrilling journey filled with perilous encounters.

From battling fantastical creatures to navigating treacherous lands, Sinbad’s voyage is packed with excitement and adventure.

The film’s score was composed by Bernard Herrmann.

Bernard Herrmann’s musical compositions added depth and emotion to the movie , enhancing the overall cinematic experience.

The 7th Voyage of Sinbad inspired a franchise of Sinbad films.

The success of the film paved the way for several sequels and spin-offs featuring the legendary character of Sinbad.

The movie serves as a visual feast for the audience.

The vibrant colors, intricate sets, and imaginative creatures make The 7th Voyage of Sinbad a visually stunning masterpiece.

The film showcases a battle between the forces of good and evil.

Sinbad’s epic journey is not only a physical one but also a moral struggle against the wicked forces that threaten him and his crew.

The movie combines elements of fantasy, adventure, and romance.

It offers a compelling mix of thrilling action sequences and a heartfelt love story, captivating audiences of all ages.

The character of Princess Parisa is portrayed by Kathryn Grant.

Kathryn Grant brings grace, beauty, and bravery to the role of Princess Parisa, the love interest of Sinbad in the film.

The 7th Voyage of Sinbad showcases the power of teamwork.

Sinbad and his crew must work together to overcome challenges and achieve their goals, highlighting the importance of unity.

The film’s success contributed to the popularity of fantasy films in Hollywood.

The 7th Voyage of Sinbad paved the way for future fantasy films, inspiring filmmakers to explore the realms of imagination.

The movie continues to be celebrated for its groundbreaking special effects.

Even today, The 7th Voyage of Sinbad is appreciated for its innovative use of stop-motion animation and visual effects.

The iconic sword-fighting scenes in the film are beautifully choreographed.

The thrilling duels between Sinbad and his adversaries showcase the skill and precision of the actors and stunt performers.

The movie received a Special Achievement Award at the Academy Awards.

In recognition of its outstanding visual effects, The 7th Voyage of Sinbad was honored with a Special Achievement Award.

The film continues to inspire and influence filmmakers today.

Its timeless story, breathtaking visuals, and memorable characters have left a lasting impact on the world of cinema.

The movie transports viewers to a world filled with magic and wonder.

Through its imaginative storytelling and fantastical elements, The 7th Voyage of Sinbad takes audiences on a mesmerizing journey.

The film’s success led to the creation of a popular attraction at Universal Studios.

A Sinbad-themed ride was built at Universal Studios , allowing visitors to experience the excitement of the movie firsthand.

The 7th Voyage of Sinbad has a dedicated fan base.

Decades after its release, the film continues to be cherished by fans who appreciate its timeless charm and adventure.

The movie showcases the power of storytelling.

With its compelling narrative and captivating visuals, The 7th Voyage of Sinbad demonstrates the enduring allure of a well-told tale.

The film’s success launched Ray Harryhausen’s career as a renowned special effects artist.

Ray Harryhausen went on to create awe-inspiring creatures and visual effects in numerous other films, cementing his legacy in the industry.

The movie was initially released in Technicolor.

The vibrant colors of Technicolor added an extra layer of enchantment to the film, immersing viewers in the world of Sinbad.

The 7th Voyage of Sinbad has become a cultural touchstone.

The film has left an indelible mark on popular culture , becoming synonymous with adventure and imagination.

The movie’s success led to the creation of merchandise and tie-in products.

From action figures to posters, The 7th Voyage of Sinbad inspired a range of merchandise for fans to enjoy.

The film’s iconic poster features Sinbad battling a giant skeleton.

The striking image has become instantly recognizable and has been widely reproduced and referenced in popular culture.

The movie’s fantastical creatures continue to capture the imagination.

From the Cyclops to the Roc bird, the imaginative creatures in The 7th Voyage of Sinbad have become iconic representations of fantasy.

The film’s success led to the creation of a comic book adaptation.

Fans of the movie could continue to enjoy the adventures of Sinbad through the pages of a comic book.

The 7th Voyage of Sinbad influenced future filmmakers and artists.

Many filmmakers and visual artists credit the film as a source of inspiration for their own creative endeavors.

The movie’s thrilling action sequences keep viewers on the edge of their seats.

From sword fights to daring escapes, The 7th Voyage of Sinbad offers exhilarating moments of high-stakes adventure.

The film’s success led to the release of a soundtrack album.

People could relive the magic of The 7th Voyage of Sinbad through the captivating musical compositions of the film.

The movie has been digitally restored to preserve its original quality.

Efforts have been made to ensure that future generations can experience The 7th Voyage of Sinbad in all its visual splendor.

The popularity of the film led to a reevaluation of fantasy films as a legitimate genre.

The success of The 7th Voyage of Sinbad helped elevate fantasy films to a respected and influential genre in the world of cinema.

The movie’s legacy lives on through its enduring influence on the fantasy genre.

The impact it has had on subsequent fantasy films is undeniable, with echoes of The 7th Voyage of Sinbad being seen in many modern-day productions.

The 7th Voyage of Sinbad remains a beloved classic for fans of adventure and fantasy.

Its timeless appeal and captivating storytelling continue to enchant audiences of all generations.

Overall, “The 7th Voyage of Sinbad” is a timeless classic that has captivated audiences for decades. With its groundbreaking stop-motion animation, thrilling adventures, and iconic creatures , it set the standard for fantasy films of its time. The talented cast, led by Kerwin Mathews as Sinbad, brought the characters to life and added depth to the story.

This movie not only entertained but also pushed the boundaries of visual effects, showcasing the incredible talents of Ray Harryhausen. The intricate detail and fluid motion of the stop-motion creatures still hold up today, proving the enduring impact of this film’s effects work.

If you’re a fan of fantasy, adventure, and imaginative storytelling, “The 7th Voyage of Sinbad” is a must-watch. It continues to inspire filmmakers and enchant audiences with its timeless charm and larger-than-life adventures.

Q: Who directed “The 7th Voyage of Sinbad”?

A: The movie was directed by Nathan H. Juran.

Q: When was “The 7th Voyage of Sinbad” released?

A: The film was released on December 5, 1958.

Q: What is the runtime of “The 7th Voyage of Sinbad”?

A: The movie has a runtime of approximately 88 minutes.

Q: Are there any sequels to “The 7th Voyage of Sinbad”?

A: Yes , there were two sequels: “The Golden Voyage of Sinbad” (1973) and “Sinbad and the Eye of the Tiger” (1977).

Q: Is “The 7th Voyage of Sinbad” based on a book?

A: No, the movie is not based on a book. It was an original screenplay.

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