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Sinbad and the Eye of the Tiger (1977)

Because it was a box office flop, Sinbad and the Eye of the Tiger seems to be overlooked, but holy anna, did I ever watch the heck out of this movie when I was a child. HBO showed it twenty times and my kid brother and I saw at least nineteen of the screenings. He even had a dream once where the ending was different, and when we saw it the next time and a big Ray Harryhausen monster didn’t survive – it never did – he started crying because he was convinced that “they” had changed the ending.

Anyway, since Ray Harryhausen movies took a heck of a long time to make, he and Charles Schneer began preproduction for the third Sinbad movie while the second one was still in theaters. By the time it was finally released, Star Wars was in the process of changing everything. It’s a fine adventure film, headlined by Patrick Wayne as Sinbad, with Jane Seymour and Patrick Troughton in good supporting roles, and a terrific villain played by Margaret Whiting, who is just awesome and gives a splendid performance. Apart from the memorable monsters, Sinbad movies had great bad guys. But the movie was seen as an old-fashioned throwback, and audiences in 1977 wanted outer space action.

Strangely, Taryn Powers, playing the daughter of Patrick Troughton’s character, is second-billed here despite a much smaller role than many of the other actors. She is the daughter of Tyrone Powers and didn’t have a really long career, but she must have had a good agent.

Our son was a little bit leery of this one, because while his memory isn’t exceptional, he definitely remembers the previous two movies being scary. This time out, the stop-motion monsters aren’t quite as memorable, though. It starts with some demon-things that interact with the live-action photography better than any previous Harryhausen fight scene, even bringing down a tent atop the human actors by striking the pole with a sword. But there’s a bronze clockwork minotaur that just steers a boat, and a big wasp whose actual size we can’t determine until it’s been killed, and a great big walrus, for some reason. But half an hour before the end of the movie, we meet a strange ally in the form of a grunting troglodyte, and “Trog” might be Harryhausen’s finest monster to that point.

But I specified monster for a reason. Sinbad’s big quest this time is to save an old friend, the rightful caliph of the city of Charak, who has been turned into a baboon. There are a couple of scenes with a prop monkey, but otherwise the animal is entirely stop-motion and the effect is just amazing. It’s almost as though Harryhausen decided to challenge himself by animating something with so much hair, and to have it be so expressive atop that is just icing. A crowd of skeletons meant less work.

Anyway, his verdict was that, like the previous Sinbad movies, he liked the film, but it was scary. I like it a lot: Wayne and Seymour are great together, Troughton is just about the most watchable actor around, Bernard Kay has a small part and he’s always worth seeing, and Margaret Whiting is just superb.

Weirdly, another film that I watched a dozen times on HBO, a few years later, was John Boorman’s Excalibur. I haven’t seen either movie in decades, and somehow my dwindling familiarity with the films long ago confused a mid-movie fate for Whiting, where her transformation from a seagull back into a human isn’t 100% effective, with that bit in Excalibur where Helen Mirren ages fifty or sixty years. Memory’s a weird thing, isn’t it?

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The Golden Voyage of Sinbad (1973)

Fifteen years after making the first, and, to most people, the definitive Sinbad movie, Ray Harryhausen was back with a movie that many seem to suggest is one of the lesser films in his career. But man alive, I think it’s terrific. It may not be as great as Jason and the Argonauts – what is? – but I enjoyed this even more than the original Sinbad movie, and John Phillip Law, who plays Sinbad in this one, is really fun.

I casually mentioned to our son before we sat down this morning that he should pay attention to two of the actors in particular. Tom Baker, of course, we’ll be seeing much more of in the future. Here, he plays the villainous Prince Koura, an evil magician with designs on the throne of Marabia and far more, and he’s really fun. At no point does Koura do anything heroic or appear as anything other than a black-hearted sorcerer. He’s completely hypnotic, and it beggars belief that he was so short of work in 1973 that he was thinking about calling it quits. Eight years later, work would be a little scarce because of typecasting and something of an industry reputation for being, shall we say, mercurial and temperamental, but every casting director in London should have been phoning him in ’73.

And then there’s Caroline Munro, and I’m planning to see her at least twice more for this blog this year, and possibly a couple more times if I decide to write about James Bond and Hammer movies down the line, when our son’s a little older. I think she was one of the most gorgeous actresses around in the seventies, and I’d watch her in anything, so it’s kind of helpful that she kept making such fun movies that decade.

One of those Hammer films was Captain Kronos – Vampire Hunter, which was among those films that Brian Clemens made during his brief period working in features between his TV series The Avengers and Thriller. Since Munro was under contract with Hammer at the time, Clemens was encouraged to cast her in Kronos, and was so impressed with her that while he was working on the story for The Golden Voyage of Sinbad with Ray Harryhausen and producer Charles Scheer, he lobbied for her to take the lead female role. Honestly, there’s not a great deal to her part here, but she looks terrific.

The most curious casting, though, is Sinbad himself. John Phillip Law had been earmarked for greatness just a few years before this, and in 1968 alone had starred in three different cult films: Barbarella, Danger: Diabolik, and Skidoo. But while these odd films have fans today, at the time, they were all box office bombs. He was a sex symbol, but his career had stalled. This film was a hit, but it didn’t get him any meaty roles. He worked through the seventies, but mainly in cheap Italian action movies. I think it’s a shame that he didn’t come back for the next Sinbad movie four years later.

But you want to know about the special effects and what our son thought. As befits a Harryhausen movie, anything can happen here, and some of it is completely unpredictable. Other things are ever-so-gently telegraphed by what we know from previous Harryhausen films and what we’ve seen Koura do. I was unfamiliar with this movie and didn’t even look at the package art with more than a glance because I dislike spoilers so much. This wasn’t a case like Jason and the Argonauts where I spent the entire film waiting for that mob of skeletons to get reanimated. When Koura and his henchman get kidnapped by a green-painted tribe of cultists who worship Kali, they make the horrible mistake of bringing him into a cave with a ten-foot tall statue of their goddess, made of stone and with six arms. She’s there on the cover of the DVD, but that’s not why I knew she’d come to life. It’s the way the camera let me know it was coming.

Our son’s favorite monsters, meanwhile, were a pair of hideous, winged “spies,” brought to life from paper and Koura’s blood. His favorite scenes were the two bits where these creatures were killed. He especially loved seeing the second one brought down.

Overall, this whole film was one of the best and most entertaining scary experiences that he’s ever had. He says that he really liked this movie, but insists that it was not exciting. It was just plain scary, full stop. Between all of the monsters and the last-second escapes, he was in heaven, but he was also under his blanket. One thing’s for sure: he was never bored, not at all. There’s just enough humor for an occasional gag, but the stakes are pitched just perfectly for kids: abstract “good” versus “evil,” with no ramifications or subtlety. When a new pair of monsters shows up for one of the last battles, and Koura intervenes on behalf of the evil one, it’s the closest thing to a complicated allegory in the film. Otherwise it’s just wild, delicious popcorn made by a very talented team and we enjoyed it a lot.

Incidentally, there’s a very odd little bit of foreshadowing for a movie that hadn’t been made yet. Douglas Wilmer co-stars here as the magical Grand Vizier of Marabia, and wears a golden mask that completely hides his identity throughout the film. I briefly wondered why in the world you’d cast such a familiar name and face as Douglas Wilmer and then hide him under gold for a whole picture, and then I remembered that’s precisely what happened in 1980, when the makers of that Flash Gordon movie cast Peter Wyngarde as Max von Sydow’s right-hand man and hid him under gold as well! If you ever wonder why, I think they got the idea from here.

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The 7th Voyage of Sinbad (1958)

This film is so fun! It’s the first of three Ray Harryhausen movies about the wild adventures of Sinbad the Sailor, and it’s got dangerous monsters, evil magicians, beautiful princesses, and a palpable sense of danger. When you’re an adult, you’ve long passed the point where you understand the supporting characters are going to get killed off, but our son’s right at the age where seeing the good guys die one after another raises the stakes for the hero.

That said, I’m afraid that the special effects casualties at first had him more amused than frightened. As members of Sinbad’s crew get crushed or stomped by tree-carrying monsters, or fall to their deaths from mountain peaks, he chuckled a lot. Almost comedic “waaaaah!” noises by the dead and dying probably didn’t help. But as the story went on and the stakes grew higher, I noticed a change in his chuckling, and it gave way to nervous giggles. Sinbad has a sword fight with an animated skeleton in one of the film’s signature pieces, and the tones of his laugh were entirely different. Bunched up on the couch with his knees literally knocking and his eyes wide, kids don’t come more thrilled. Five years later, of course, Harryhausen would ask “So, you liked that sword fight with one skeleton, did you?” We’ll see what our son thinks of what would come next in a few months.

In the cast, we’ve got Kerwin Matthews, who’d later play another iconic role in The Three Worlds of Gulliver, as the hero, Kathryn Grant as the heroine, Alfred Brown as the comedy sidekick, and Torin Thatcher as the villain. They’re all really good in their roles, with Thatcher doing a great turn on the “sudden but inevitable betrayal.”

This really is a “what’s not to love” movie. It’s got great actors, fabulous monsters, a memorable score by Bernard Herrmann, one of those rock bridges over a river of molten lava, terrific direction by Nathan Juran, and if our modern, jaded, and practiced eyes can spot the joins and note the change in film quality whenever a fantastic creature is about to attack the human players, the kids of 1958 sure couldn’t. Neither did today’s. This is absolutely great, escapist fun. Every kid should see this movie.

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