The 7th Voyage of Sinbad
||This article's plot summary may be too long or excessively detailed. (June 2014)|
|The 7th Voyage of Sinbad|
|Directed by||Nathan H. Juran|
|Produced by||Charles H. Schneer
|Written by||Kenneth Kolb|
|Music by||Bernard Herrmann|
|Edited by||Roy Watts|
|Distributed by||Columbia Pictures|
|Box office||$3.2 million (est. US/ Canada rentals)|
The 7th Voyage of Sinbad is a 1958 Technicolor fantasy film from Columbia Pictures, produced by Charles H. Schneer and directed by Nathan H. Juran. This was the first of three Sinbad feature films from Columbia, the much later two being The Golden Voyage of Sinbad and Sinbad and the Eye of the Tiger). All three Sinbad films were conceptualized by Ray Harryhausen who used a full color widescreen stop-motion animation technique he created called Dynamation.
While similarly named, the film does not follow the storyline of the tale "The Seventh Voyage of Sinbad the Sailor" but instead has more in common with "The Second Voyage of Sinbad the Sailor", which featured the giant roc bird.
The 7th Voyage of Sinbad was selected in 2008 for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
While lost at sea, legendary adventurer Sinbad the Sailor (Kerwin Mathews) and his crew find the island of Colossa where they encounter Sokurah the magician (Torin Thatcher), fleeing from a giant Cyclops. They are able to escape when Sokurah orders the genie of his magic lamp to create an invisible barrier. However, Sokurah drops the lamp when the Cyclops throws a boulder into the sea, overturning their boat, though the men are able to swim to the ship. The Cyclops retrieves the lamp from the water after the barrier disappears. On board the ship, Sokurah tells Sinbad about how many ships crashed on the island and the Cyclops collected all their treasure. He offers it to him if they turn back to get the lamp, but Sinbad refuses. He and Princess Parisa (Kathryn Grant), from the kingdom of Chandra, are on their way to Sinbad's native Baghdad to be married. Their union would cement ties between their two nations.
The Caliph of Baghdad (Alec Mango) allows Sokurah to provide entertainment on the night before the wedding. Sokurah conjures a "snake woman" from Parisa's handmaiden Sadi, and a cobra. However, this goes wrong when she nearly suffocates herself while trying to dance. Sokurah saves Sadi by spraying her with a magical spray to make her a full woman again, but the torture of watching this spectacle put on just for the king angers Parisa and a few others watching. When Sokurah prophesies war between the two nations when asked to look into the future, Sinbad lashes at him to stop. The Caliph is angered by this and refuses to provide a ship and crew to retrieve his lamp while threatening to have him blinded if he is not out of Baghdad before sunset. That night, the magician secretly shrinks Parisa to the size of a hand. When she is discovered, her father threatens Baghdad with war. Sinbad is able to find Sokurah as he leaves the City. Sokurah claims he knows of a potion that can restore Parisa, but it requires a piece of the eggshell of a roc, a giant, two-headed bird that nests on the peaks of Colossa. The Caliph has no choice but to provide a ship. Sinbad enlists his loyal men from the previous voyage, but they are not enough and Sinbad is forced to recruit inmates from the Caliph's prison.
Before they reach the island of Colossa, the cutthroats mutiny and capture Sokurah, Sinbad, and his men. During a storm, the sounds of screaming demons from an island south of Colossa madden the crew and the ship is in danger of being dashed upon the rocks where sea-serpents will devour the sailors. After the leader of the mutineers falls from the mast to his death, one of the mutineers releases Sinbad so he can save the ship.
On the island of Colossa, Sinbad, Sokurah and some of the sailors enter the valley of the Cyclops where they find the treasure but are captured by the monster. The Cyclops prepares to have Sinbad's faithful lieutenant Harufa for dinner as Sokurah focuses on getting the magic lamp and ignores the pleas of his comrades. However, the shrunken Parisa is able to open the latch on the cage the men are in, freeing them. Meanwhile the other men in the Valley have become drunk from a river that tastes like wine and attack the Cyclops. As Sinbad saves Harufa, the Cyclops chases after the men and kills many of them. Sinbad manages to blind the cyclops with a torch and leads it off a cliff to its death. Still needing Sokurah to guide him, Sinbad takes possession of the lamp.
The party reaches the nest of the two-headed roc, just before a giant hatchling emerges from its shell. Some of the men break open the egg and slay it as they feel hungry. Parisa enters the lamp where she finds the unhappy boy genie Barani (Richard Eyer). He shows her an inscription inside the lamp of how he can be freed and tells her the words to summon him in return for her promise to free him. When the angry parent returns, it attacks and pushes the remaining men off the cliff. Meanwhile, Sokurah kills Harufa when he prevents him from getting the lamp. Sinbad manages to retrieve both a fragment of an eggshell and the lamp but is captured by the Roc which drops him unconscious in its nest. The magician then abducts the tiny Princess and takes her to his underground fortress.
Sinbad recovers, is told by the Genie what happened, and climbs down into the valley of the Cyclops to the entrance of Sokurah's cave. He slips past the chained guardian dragon. Once found, the magician agrees to restore Parisa to her normal size in return for the lamp. However, Sinbad then refuses to give him the lamp until they get back to the ship, so Sokurah brings to life a skeleton swordsman to challenge him. Sinbad eventually defeats it, and he and the Princess flee. As they cross over a river of molten lava, Sokurah causes part of the bridge to break off. The Princess summons the Genie who gives the two a rope to swing over. Parisa recalls part of the prophecy the genie told her about. She throws the lamp into the lava to free the genie from his captivity.
When the two leave the cave, they encounter another Cyclops. Sinbad releases the dragon who engages the cyclops. The dragon forces the cyclops out of the cave and the cyclops gets in a few hits and strangles the dragon before getting pinned down and killed. Sinbad and Parisa make good their escape back to the shore. Sokurah orders the victorious dragon to follow and kill them. However, Sinbad's men have time to organize a giant crossbow ballista and fire at the dragon. Sokurah is accidentally crushed by the fatally wounded monster while Sinbad, Parisa, and the other survivors depart. They are joined by the genie, Sinbad's new cabin boy, who has placed the treasure of the Cyclops in Sinbad's cabin as a wedding gift.
- Kerwin Mathews as Sinbad
- Kathryn Grant as Princess Parisa
- Richard Eyer as Barani, the genie
- Torin Thatcher as Sokurah
- Alec Mango as the Caliph of Baghdad
- Harold Kasket as the Sultan, Parisa's father
- Alfred Brown as Harufa, Sinbad's loyal right-hand man
- Nana DeHerrera as Sadi (as Nana de Herrera)
- Nino Falanga as Gaunt Sailor
- Luis Guedes as Crewman
- Virgilio Teixeira as Ali
It took Ray Harryhausen 11 months to complete the full color, widescreen stop-motion animation sequences for The 7th Voyage of Sinbad. Harryhausen's "Dynamation" label was used for the first time on this film.
Harryhausen gave the Cyclops a horn, furry goat legs, and cloven hooves, an idea based upon the concept of the Greek god Pan. He lifted much of the creature's design (for example the torso, chest, arms, poise and style of movement) from his concept of the Ymir (the Venusian creature from his earlier 20 Million Miles to Earth). He used the same armature for both figures; to do this, he had to cannibalize the Ymir, removing the latter's latex body.
Harryhausen researched the Cobra-woman sequence (when Sakourah entertains the Caliph and the Sultan) by watching a belly dancer in Beirut, Lebanon. During the performance, Harryhausen says, "smoke was coming up my jacket. I thought I was on fire! It turned out the gentleman behind me was smoking a hookah!" The Cyclops is the film's most popular character, but Harryhausen's personal favorite was the Cobra-woman, a combination of Princess Parisa's maid, Sadi, and a cobra.
The film's original script had a climax that involved two Cyclopes fighting. In the final version, however, the climactic battle featured a single Cyclops versus a Dragon. The model of the Dragon was more than three feet long and was very difficult to animate; the fight sequence took nearly three weeks for Harryhausen to complete. Originally, it was planned to have the Dragon breathing fire from its mouth during the entire sequence, but the cost was deemed too high. So the scenes where it does breathe fire, Harryhausen used a flamethrower, shooting out flames 30 to 40 feet against a night sky, then superimposeing the filmed fire very near the Dragon's mouth.
The sword fight scene between Sinbad and the skeleton proved so popular with audiences that Harryhausen recreated and expanded the scene five years later, this time having an army of armed skeletons fight the Greek hero Jason and his men in 1963's Jason and the Argonauts.
The stop-motion Cobra-woman figure used for the film was cannibalized 20 years later in order to make the Medusa figure in Harryhausen's final film, Clash of the Titans.
The music from The 7th Voyage of Sinbad was composed by Bernard Herrmann, better known for his collaboration with the director Alfred Hitchcock. Herrmann went on to write the scores for three other Harryhausen films, namely Mysterious Island, The Three Worlds of Gulliver, and Jason and the Argonauts, but Harryhausen regarded the score for The 7th Voyage of Sinbad as being the finest of the four due to the empathy which Herrmann's main title composition displayed for the subject matter.
The soundtrack producer Robert Townson, who re-recorded the score in 1998 with the Royal Scottish National Orchestra, described the music as rich and vibrant, commenting "I would cite The 7th Voyage of Sinbad as one of the scores which most validates film music as an art form and a forum where a great composer can write a great piece of music. As pure composition I would place Sinbad beside anything else written this century and not worry about it being able to stand on its own."
The 7th Voyage of Sinbad was, and continues to be, well-reviewed by critics and audiences alike, with many saying that it is the best film of the "Sinbad" trilogy. It has a 100% rating at the aggregate movie review website Rotten Tomatoes, with several reviewers citing its nostalgic value. Mountain Xpress critic Ken Hanke calls it "Childhood memory stuff of the most compelling kind."
- American Film Institute Lists
- AFI's 100 Years...100 Thrills - Nominated
- AFI's 100 Years...100 Heroes and Villains:
- Sinbad - Nominated Hero
- AFI's 10 Top 10 - Nominated Fantasy Film
- The 7th Voyage Box office / business from the Internet Movie Database
- "1959: Probable Domestic Take", Variety, 6 January 1960 p 34
- Dalton 2003, p. 112.
- Dalton 2005, pp. 160–166.
- "'Jason and the Argonauts'." Monstervision, 2000. Retrieved: January 29, 2015.
- Luchs, Kurt. "The 7th Voyage of Sinbad: An Interview with Robert Townson, part 1." The Bernard Herrrmann Society, October 1998. Retrieved: January 29, 2015.
- The 7th Voyage of Sinbad at Rotten Tomatoes
- The 7th Voyage of Sinbad at Rotten Tomatoes
- "AFI's 100 Years...100 Thrills." AFI. Retrieved: January 29, 2015.
- "AFI's 100 Years...100 Heroes and Villains Nominees." AFI. Retrieved: January 29, 2015.
- "AFI's 10 Top 10 Ballot." AFI. Retrieved: January 29, 2015.
- The 7th Voyage of Sinbad at the TCM Movie Database
- The 7th Voyage of Sinbad at the Internet Movie Database
- The 7th Voyage of Sinbad at AllMovie
- The 7th Voyage of Sinbad at the American Film Institute Catalog
- The 7th Voyage of Sinbad at Rotten Tomatoes