Sinbad - Netflix
Sinbad is a young man on a quest for redemption, condemned to keep searching for a way to lift the curse that chains him to the seas, until he can find the goodness in himself. Sinbad provides for himself and his family by fighting for money, but inadvertently kills a man, causing him to escape to sea as a stowaway. The 8th century Arabia is a melting pot of cultures, faiths and creatures; full of life and color, but also threatening and volatile. Before their journey is over, Sinbad and his crew of outcasts will not only have to brave their own demons, but some of the most dangerous enemies imaginable.
Runtime: 60 minutes
Sinbad - The 7th Voyage of Sinbad - Netflix
The 7th Voyage of Sinbad is a 1958 Technicolor heroic fantasy adventure film from Columbia Pictures, produced by Charles H. Schneer, directed by Nathan H. Juran, that stars Kerwin Mathews, Torin Thatcher, Kathryn Grant, Richard Eyer, and Alec Mango. This was the first of three Sinbad feature films from Columbia, the much later two being The Golden Voyage of Sinbad (1973) and Sinbad and the Eye of the Tiger (1977). 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 Third and Fifth voyages of Sinbad. 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”.
Sinbad - Production - Netflix
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 Cyclops 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 a group of seven 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.
Sinbad - References - Netflix