When Sokurah reaches toward the camera to grab the princess, his hand can be seen closing on nothing as the scene cross-dissolves to Sinbad in the Roc's nest.
When Sinbad knocks out the first mutinous sailor, the sailor's position changes.
A second wooden keg appears next to the first mutinous soldier Sinbad knocks out.
The exterior shot of Sinbad's ship is obviously of a completely different ship before they reach the island the first time and when they leave.
The first time we see it coming up on the island, it has only one large triangular sail as was common with medieval Mediterranean vessels.
Then when it leave the island it's a 16th century galleon with three square sails on three separate masts.
A different man grabs the king cobra.
Sokurah reaches into the basket to pick up the cobra during his magic act.
A switch to closeup shows a man with different sleeves, and three-to-four closeup frames show a hairy-headed man.
Sokurah the magician is completely bald.
When Sokura throws the serpent into the jar, it is blue-colored, not brown.
(This is not a problem in the correctly framed 1.
85:1 theatrical aspect ratio, only the full frame version.
) During the mutiny, Sinbad's third punch misses, but is heard to connect.
In his close-up on the poop deck, Karim's big hoop earring can be clearly seen to be tied to his (unpierced) ear by a string emerging from his bandanna.
As the crew arrives on the island, they see a wooden cage with a skeleton hanging inside.
In reality, the bones would fall apart as the body dried out.
In the scene, the wires holding the bones together are clearly seen.
When Sinbad fights off the mutineer up on the mast, he acts with his left arm as if he had stabbed him on his side, but he doesn't hold a knife.
On their first encounter with the cyclops, they are rowing out to their boat when the cyclops hurls a boulder at them.
The boulder hits the water, makes a splash, but then it starts to float rather than sink like a rock.
When the first scene is shown of Baghdad, the name of the city is misspelled as Bagdad.
Hugo |
| Best Dramatic Presentation |
FMCJ Award |
| Best New Recording of a Previously Existing Score |
1958's "The 7th Voyage Of Sinbad" (with its creaky pre-CGI effects) is definitely one of those Fantasy/Adventure pictures (from yesteryear) that (as an adult) you are really gonna have to be willing to cut it some slack, otherwise, (in the long run) you're probably better off passing on giving this one a view.Clearly geared to entertaining youngsters (who have very low demands on story coherency) - I'd say that the stop-motion monster effects (created by the imitable Ray Harryhausen) were, without a doubt, the real highlight of the action in this one's story.
For it's time, it was the greatest special effects movie (1958). This was the ground breaking stop-motion spectacle, that elevated the (now legendary) Ray Harryhausen into the big time and cemented his golden legacy.
Sinbad is sailing to Baghdad with his beloved Princess Parisa for their wedding. On route they stop off on an island for supplies.
Nathan Juran directed this fantasy-adventure with excellent F/X by Ray Harryhausen. Kerwin Mathews stars as Sinbad, who is traveling to Bagdad with the princess Parisa(played by Kathryn Scott) when they are forced to land on a remote island for supplies, where they assist a magician(played by Torin Thatcher) who is being attacked by a giant Cyclops.
Superb is the fair word about this film. From the lovely stop - motion technique to the beautiful performances , from the miniature princess to the Roc and skeleton fight and cyclop and brilliant wizard proposed by Torin Thatcher.
In its day, this film was considered mesmerizing. Especially for children.
It may be a bit odd to say that a film made in 1958 can stand up against today's blockbusters, but I can't help feeling that if you showed 'The Seventh Voyage of Sinbad' to any modern youngster before they were indoctrinated with big budget computer-generated effects and superheroes flying round New York fighting aliens, then they're appreciate the magic in this timeless tale.The one thing I always enjoy about films made before the nineties (roughly) was that they got on with things right away.
Have movies ever been as good before or since this one?Nope.
Directed by Nathan H. Juran.
