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THE 7th VOYAGE OF SINBAD
By far the most “classic” of the three, this spectacular part of cinematic adventure may very well be Ray Harryhausen’s masterpiece. Legendary sailor Sinbad (Kerwin Matthews, in his signature role) is on the verge of marriage to Princess…..uh, I forget (a ravishing Kathryn Grant), and uniting their two countries. But not before the defective magician Sokurah (Torin Thatcher, in an extremely silly performance) can shrink the princess to a doll’s size in order to glean Sinbad to return him to the Island of Colossa. There, Sinbad battles a giant Rok, a fire-spewing dragon, and (my personal current), the Cyclops…all brilliantly achieved by the greatest FX pioneer of all time, Ray Harryhausen. Oh, and there is the classic duel with the skeleton. Now I constantly hear people say, “Oh, like in ‘Jason & the Argonauts’? “, and it drives me crazy! Though the battle was far more define and, well, better in that film, this is the unusual, people, the one that started it all! Indeed, this type of fight would appear again, and again, and again in subsequent Harryhausen films, ever improving (which really showed the moral ingenuity of the man) . “The 7th Voyage of Sinbad” is most likely, THE fantasy-adventure classic of all time, though some people say the same for the current “The Thief of Baghdad”. But, I haven’t seen that film, so I couldn’t say. Plus, it doesn’t have special-effects wizard Ray Harryhausen unhurried the camera to provide glorious creatures just out of a dreamworld! A rousing, witty regain by Bernard Herman, too!
Rating: 5/5
THE GOLDEN VOYAGE OF SINBAD
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My accepted of all three films, even if it doesn’t really deserve the title “classic” as considerable as “7th Voyage” did. John Phillip Law replaced Kerwin Matthews in the title role, and proves to be less impressive, but only by a petite. And, hey, he actually has an accent! This time ’round, Sinbad discovers a peculiar device disguised as a golden cherish of sorts, and with it sets off to the magical isle of Lemuria, where myth has it that if you plot the map/trasure in the Fountain of Destiny, you will be granted all-powerful, all-knowledgable, and eternal youth. But he’ll have to arrive the isle before the murky sorceror, Koura (played to perfection by the injurious Tom Baker), who has more than a few tricks up his sleeves to discontinuance Sinbad and his crew! This is a noteworthy different film than the first; the swashbuckling attitude is replaced by a darker, but more mystical atmosphere, which I come by very cold! The glean by Miklos Rozsa perfectly matches it, too (honest check out the music during the scene with the Oracle; it’s awesome!) . The legend is very inventive, with more twists-n-turns than you would guess. There is lots of suspense, too! And there is also Caroline Munro as the treasure interest for all you teenage boys out there! Ray Harryhausen once again provides a massive array of imaginative and expertly constructed creatures, including a flying homunculus (a view of koura), and a six-armed statue of the goddess Kali, which is the showcase for a masterfully-choreographed sword fight sequence. As well, there is an arresting battle between a one-eyed centaur and a griffin! A obedient fantasy-adventure.
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Rating: 4.5/5
SINBAD & THE Scrutinize OF THE TIGER
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By far the least of the three, it’s collected delightful, nonetheless, though not for all the same reasons as the first two. First off, the acting is irascible, but it is in a unpleasant way; rarely do you feel the need to laugh out loud at its campiness. Second, the region is exquisite lame, and recycles quite a bit from the preceeding voyages. Sinbad is now played by Patrick Wayne, the son of John Wayne, though it really doesn’t demonstrate. He has none of his father’s prescense on cover, nor does he absorb any acting abilities whatsoever! He is now on a quest to the land of *it’s a really long, utterly forgetable name*, in order to return the Prince Kassim help to his human construct. You recognize, he has been transformed into a baboon (?!) by the nefarious sorceress Zenobia (Margaret Whiting), but Sinbad must have the prince’s permission to wed the Princess…once again, I forget her name, but it’s a really hot Jane Seymour. They are joined by the wize man Melanthius (Patrick Troughton, I reflect) and his beautiful daughter (Taryn Power) . Like I said, the myth is mature, so it’s up to the craftsmanship of Ray Harryhausen to establish the day, and he does it very effectively! The giant walrus isn’t menacing in the least, but the fight between the Troglodyte and Saber-toothed Tiger is suspenseful and consuming. Indeed, the creatures (such as Kassim the Baboon) develop more emotion than the actors themselves! All except for the Minaton…I mean, he’s supposed to be this unstoppable colossus, apt? Well, all he does in the entire represent is row a friggin’ boat! That we are deprived of seeing this brute giant in action is all but devastating. The music is overall mediocre, but the backgrounds are ravishing and mystical. In fact, the production crew shot the film in places that had never been former in any film before it, and it shows! (P.S. Why the hell is it called “The See of the Tiger”? It has nothing to do with any tiger, nor any peruse…at least, not enough to assign in the title.)
Rating: 3.5/5
CONCLUSION: This a broad trilogy to add to your Ray Harryhausen collection. All three films are digitally remastered, and they’re all elegant (especially “The Golden Voyage”) . They all feature the satisfactory documentary “The Harryhausen Chronicles”, too. On a puny side stamp, the DVD covers and tremendous production notes inside are awesome!
Ray Harryhausen’s primal importance in the realm of science fiction and special effects goes without saying. These are satisfactory adventure films, truly entertainment for the whole family.
As a musician, however, I must point out that one of these films, The 7th Voyagoe of Sinbad, contains what is without examine the single most indispensable fragment of music every written for a film- and that is, of course, Bernard Herrmann’s gather.
Herrmann, who is by now well known to most people as one of the prime movers in the realm of adventure and science fiction musical scores, wrote one of his best for this film.
Back in 1958, as an eleven year worn, I remember seeing this film at the dilapidated Roxy Theater in NYC. I was entranced by it, but most of all by the music. It had such an impact on me that it decided the direction my life would grasp, that is, as a composer. If music could have such a terrific and remarkable do on people, then I wanted to select my fledgling efforts “all the intention.” This lead me to NYCs High School of Music and Art and, eventually, to a Bachelor’s, a Master’s and a Doctoral degree in composition from Juilliard. I have never regretted that decision, nor forgot the impact of that moment.
I’ve been able to fraction this with my bear children. There are few films so relatively pure in their fantasy. Be Pleased, but listen, too.
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