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Nathan Juran
Kerwin Mathews, Kathryn Grant, Richard Eyer, Torin Thatcher, Alec Mango, Danny Green, Harold Kasket, Alfred Brown
Writing Credits:
Ken Kolb

8th Wonder of the Screen!

Sinbad travels the seven seas and faces just about every horrific demon under the sun, including the wicked magician Sokurah, as he battles to free his love, the beautiful princess Parisa, from an evil spell.

Box Office:
$650 thousand.

Rated G

Aspect Ratio: 1.85:1
English Dolby TrueHD 5.1
French Dolby Digital 5.1
English Monaural
Thai Dolby Digital 5.1
Supplements Subtitles:

Runtime: 88 min.
Price: $19.99
Release Date: 10/7/2008

• Audio Commentary with Technical Effects Creator Ray Harryhausen, Biographer Steven Smith, Visual Effects Artists Randall William Cook and Phil Tippett and Producer Arnold Kunert
• “Remembering The 7th Voyage of Sinbad” Featurette
• “The Harryhausen Legacy” Featurette
• “The Music of Bernard Herrmann” Featurette
• Photo Gallery
• Music Video
• “A Look Behind the Voyage” Featurette
• “Ray Harryhausen Interviewed by John Landis” Featurette
• Previews


Panasonic 50" TH-50PZ77U 1080p Plasma Monitor; Sony STR-DG1200 7.1 Channel Receiver; Panasonic DMP-BD60K Blu-Ray Player using HDMI outputs; Michael Green Revolution Cinema 6i Speakers (all five); Kenwood 1050SW 150-watt Subwoofer.


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The 7th Voyage Of Sinbad [Blu-Ray] (1958)

Reviewed by Colin Jacobson (Juky 31, 2012)

Would anyone not actually involved with the project remember 1958's The 7th Voyage of Sinbad were it not for the involvement of legendary special effects creator Ray Harryhausen? Not a chance! Harryhausen's groundbreaking work aside, this movie's an absolute stinker.

Yes, I say that from the vantage point of more than 50 years of cinematic development. Luddite film buffs will try to convince you that it's a classic, that newer movies are soulless and can't touch it, blah blah blah. You know something? Just because a movie's old doesn't make it good, a fact that 7th proves in spades.

Omitting Harryhausen's work from the equation - more about that later - Voyage has nothing going for it, and not just because it's dated. It offers extremely poor acting across the board. Stars Kerwin Mathews (Sinbad) and Kathryn Grant (Princess Parisa) are stiff Valley kids who seem completely out of place in this movie. I must acknowledge that Grant's quite sexy in an apple-cheeked Fifties kind of way (as Der Bingle obviously agreed, since he later married her).

Torin Thatcher is all wild-eyed hamminess as evil magician Sokurah, and the less said about the bizarre casting of thirteen-year-old Richard Eyer as the Opie-esque Genie, the better. I'm sure there are movies out there with worse acting, but I can't think of any right now.

The story itself has potential for excitement, but the production values seem so fantastically cheesy that it was impossible to suspend disbelief. The broad acting makes it hard enough to invest any emotion in the story; the crudeness of the remainder of the film causes it to be virtually impossible. Add to this some pathetic dialogue and you have a true loser of a movie.

Harryhausen’s effects do hold up pretty well, though. No, modern audiences won’t find themselves fooled by the stop-motion animation, but that doesn’t matter. Harryhausen’s creations show a personality and charm that makes them effective, and they give the movie whatever minor signs of life it shows.

Is it unfair for me to slam this movie because its Fifties standards don't match those of today? Perhaps, but lame is lame is lame. I can allow for difference in standards all I want but it won't make this stinker any more entertaining.

The Blu-ray Grades: Picture C-/ Audio B+/ Bonus B+

The 7th Voyage of Sinbad appears in an aspect ratio of approximately 1.85:1 on this Blu-ray Disc. This was an inconsistent transfer that was never unwatchable but it also failed to become particularly positive.

My main complaint came from the excessive grain that affected much of Voyage. This was a virtually constant presence that made the entire image rather messy. I didn’t mind the grain so much during interiors or effects shots; I expected them there. However, even daytime exteriors suffered from an awful lot of grain, and that left us with cloudy visuals that tended to mar every other aspect of the image.

Other source flaws weren’t as distracting. I noticed a handful of specks but nothing serious, as the movie remained pretty clean. Black levels seemed okay, though they tended to be a little too dense. Shadows were fairly smooth and well-developed much of the time, though some ugly “day for night” shots looked rather opaque.

Sharpness was erratic. The messiness caused by the grain could make things seem tentative, and since that was such a big factor, much of the movie looked moderately ill-defined. Some shots featured nice delineation, but the transfer lacked consistency. No issues with jagged edges or shimmering occurred, and edge enhancement remained minor.

Once again, the heavy grain impacted colors. Some of the hues looked pretty bright and lively, but the grain made the tones lackluster at times. Still, colors were one of the better aspects of the presentation. Honestly, without the excessive grain and sporadic softness, this probably would have been a decent transfer, but as is, it suffered from too many problems to go above a “C-“.

Much of the time, I don’t care for remixes made from single-channel sources. However, the Dolby TrueHD 5.1 reworking of Voyage offered a surprisingly natural piece of audio. Taken from the monaural source – which also appeared here – the soundfield created a pretty broad and involving setting. Shots on the water opened things up well, and scenes with action also gave us some good localized audio. These elements meshed smoothly, and they also used the surrounds in a moderately useful manner.

Bernard Herrmann’s score fared best of all. The flick featured very good stereo imaging that allowed the music to come to life. In fact, the stereo presentation was so solid that it tended to make the rest of the track a little less effective; the score barely showed its age, as the music was lively and robust.

Other aspects of the audio seemed more dated but remained acceptable. Speech suffered from a lot of awkward dubbing, but the lines remained intelligible and lacked edginess. Effects elements could be a bit rough, but they appeared decent at worst and boasted some nice low-end response. Overall, this was a good little track.

How did the picture and audio of this Blu-ray compare to the 50th Anniversary DVD? The audio was a wash, as both flicks boasted good multichannel material. As for the visuals, the Blu-ray suffered from the same problems as the DVD, but it still looked a bit better. Blu-ray often makes grain even more prominent, but that wasn’t the case here; the Blu-ray’s graininess was no more distracting than the DVD’s, and the format’s higher resolution made the presentation a little more satisfying. Both DVD and Blu-ray look messy, but I prefer the Blu-ray.

Both the Blu-ray and the 2008 DVD share the same extras. We open with an audio commentary from special visual effects creator Ray Harryhausen, producer Arnold Kunert, visual effects experts Phil Tippett and Randall William Cook and Bernard Herrmann biographer Steven Smith. All sit together for this running, screen-specific chat. They discuss cast and crew, the score and its composer, the project’s origins and development, the film’s impact and influence, sets and locations, and its visual effects.

Expect a lively little chat here. This was the fourth Harryhausen commentary I screened, and it’s the best, largely due to the presence of Smith. He adds a non-effects perspective that provides useful, while the others give us a good take on the flick’s technical elements. This turns into a solid commentary.

Next comes a featurette called Remembering The 7th Voyage of Sinbad. In this 23-minute and 30-second program, we hear from Harryhausen. We get notes about the film’s roots and development as well as facts about Harryhausen’s effects and some other production issues. If you listened to the commentary, you already learned virtually everything presented here. We see some interesting archival elements, and Harryhausen even trots out one of the old skeletons he animated. Nonetheless, if you took in the commentary, you might want to skip this fairly redundant piece.

The Harryhausen Legacy goes for 25 minutes, 30 seconds and includes remarks from Tippett, archivist/film historian Bob Burns, writer/agent/editor Forrest J. Ackerman, and filmmakers John Landis, Hoyt Yeatman, Ken Ralston, Joe Dante, John Dykstra, the Chiodo Brothers, Dennis Muren, Doug Beswick, Jon Berg, Rick Baker, Kevin Kutchaver, Frank Darabont, and Stan Winston. The participants reflect on how Harryhausen’s work influenced them as well as aspects of his effects. Expect a lot of fawning praise here. Yes, it’s nice to get the perspectives of those so heavily impressed by Harryhausen, but the comments lack the critical assessment I’d like. If the show had focused more on an appreciation of specifics and less on general praise, it would’ve been more satisfying.

In the 26-minute and 50-second The Music of Bernard Herrmann, we hear from Smith. He gives us an overview of Herrmann’s career and also an appreciation for those scores. I like the parts that emphasize Herrmann’s work on the Harryhausen flicks, but we don’t get a great general look at Herrmann. Smith barely mentions Hitchcock, so this doesn’t become a strong biography. Nonetheless, it allows us some good info about Herrmann’s fantasy film efforts, so it’s worth a look.

A running Photo Gallery fills nine minutes, 34 seconds. Movie score accompanies the shots as we see a mix of shots from the flick. I’d have liked some behind the scenes images, but this remains a decent collection.

For something unusual, we head to ”Sinbad May Have Been Bad, But He’s Been Good to Me”. This offers a song created to promote the film, and it comes accompanied by movie ads. It’s a goofy little tune, but it’s fun to hear.

A Look Behind the Voyage provides an 11-minute and 46-second piece that features comments from Harryhausen, Schneer, and actor Kerwin Mathews. This is a pleasant and entertaining feature that offers some interesting details about the creation of the film.

This Is Dynamation! is three-minute and 25-second featurette that comes from the era in which the movie was released. The piece gives us a hint of what to expect from the flick’s effects. It's short and frothy fun in a campy way, and it includes a few decent notes about the creation of the effects.

For the final featurette, Ray Harryhausen Interviewed by John Landis fills 11 minutes, 52 seconds. Despite its placement on this disc, the program concentrates on Jason and the Argonauts. Landis chats with Harryhausen about the flick and has him demonstrate some aspects of his effects work. While it does focus on Argonauts, it also provides an abridged history of Harryhausen's career. It shows nothing particularly crucial that we don't hear elsewhere, but Landis' obvious affection and semi-awe help make it entertaining. Ultimately, it helps give us a better appreciation for Harryhausen because we can see him through the eyes of those who really learned from him.

The disc includes Previews for a few films. We get ads for Men in Black, Casino Royale (2006), CJ7 and Water Horse: Legend of the Deep.

While I really respect the pioneering visual effects work of Ray Harryhausen, many of the flicks on which he worked weren’t good. The 7th Voyage of Sinbad boasts some cool visuals but otherwise stinks. Packed with poor acting, bad dialogue and a host of other problems, it’s a pretty bad movie. The Blu-ray offers flawed visuals, pretty good audio, and a nice roster of supplements. I’m clearly not a fan of the film, but this becomes its best home video incarnation.

To rate this film visit the 50th Anniversary Edition of THE 7TH VOYAGE OF SINBAD

Review Archive:  # | A-C | D-F | G-I | J-L | M-O | P-R | S-U | V-Z | Viewer Ratings | Main