While it is hard to pick which one of master stop motion movie creator Ray Harryhausen’s epics is the best – there are so many – The 7th Voyage of Sinbad was certainly a milestone and is representational of the great variety of fantastic creatures he animated. Like other Harryhausen movies, the plot is not what sticks in your memories as much as which particular creations were featured. In the case of the 7th Voyage, it was the cyclops (more than one actually), the shackled giant fire breathing dragon, the enormous two headed eagle chick (and one of it’s irritated parents), and probably the most memorable of all Harryhausen creations, a sabre and shield wielding, fighting skeleton.
Without any setup, Captain Sinbad (Kerwin Mathews) and his devoted sailors find themselves battling a raging sea storm when they suddenly comes across a mysterious island. Sinbad is transporting princess Parisa (Kathryn Grant) to Baghdad not only to marry her, but to sooth relations between her homeland and his own. But as the crew is low on food and water their unscheduled landing is a fortuitous opportunity to replenish resources and do a little exploring.
With supplies restocked and preparing to leave, Sinbad spots a magician fleeing a giant cyclops on the beach shore. While they manage to save the magician, a lamp that he carried was lost and retrieved by the cyclops. The magician Sokurah (Torin Thatcher) tries to convince Sinbad to turn back to the island to get back his precious lamp but is rebuffed. Sokurah awaits his opportunity back in Baghdad and the eve before the nuptials he shrinks the princess to palm size.
With the princess’ father in a uproar and vowing vengeance to the Caliph of Baghdad, Sinbad reluctantly recruits the magician and a bunch of prisoners to join his crew for a trip back to the island to get one of the ingredients needed for the potion that can turn his princess back to normal and avert a war.
Back on the island fulfilling their quest for the ingredient – the shell from a oversized egg – Sinbad and his sailors have to deal with more cyclopse, two headed monstrosities, the gargantuan dragon, as well as the lure of a treasure trove, all while the nefarious Sokurah’s double-crosses Sinbad and the men. With the help of Barani, the genie in the lamp and a giant crossbow, Sinbad saves the princess, averts the war and live to sail another day.
The first of Harryhausen’s movies to be filmed in colour and featuring the “Dynamation” name for his miniature marvels, the film is also greatly enhanced by a memorable Bernard Herrmann (Psycho) Arabian themed score. This would be the first of three Sinbad movies Harryhausen would go on to make, although other films such as Jason and the Argonauts and his last film Clash of the Titans would also be based on mythological lore, his most imaginative subject matter. Not to disparage his earlier black and white films such as Earth vs. the Flying Saucers, 20 Million Miles to Earth or Mighty Joe Young – created under the tutelage of his mentor Willis O’Brien – The 7th Voyage of Sinbad – remains one of the favorites.
I was fortunate enough to have met him when he appeared for a special screening of Jason and the Argonauts at the Fantasia film festival in 2005. A thrill to shake the hand that crafted and gave life to all those miracles in miniature.