THE 7TH VOYAGE OF SINBAD (1958) (Film Comments by Evelyn C. Leeper)

[Philip De Parto]

The following commentary is reprinted with permission from:

THE MT VOID
02/20/26 -- Vol. 44, No. 34, Whole Number 2420

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THE 7TH VOYAGE OF SINBAD (1958)  (Film Comments by Evelyn C. Leeper)

With THE 7TH VOYAGE OF SINBAD,
Harryhausen has hit his stride. Gone is the black-and-white
photography and the stock footage (though there is still a problem
matching film stocks). Gone are the voice-over introductions to
each of the first three films. Gone is the long wait before the
monsters/special effects appear. Appearing for the first time are
what would become standard for a Harryhausen film: the score by
Bernard Herrmann (though he did only four of the scores), the
crayon drawings under the title credit sequence, the use of color,
and the dropping of an opening narration. Continuing though, is
the use of numbers in the titles--with THE 3 WORLDS OF GULLIVER,
Harryhausen will make it three in a row.

And Harryhausen is given free rein to design and animate creatures
that became his trademark.

Presumably Harryhausen also did the special effects of Parisa
shrinking, and of a miniature Parisa interacting with the
full-size world.

It is not clear when (or where) THE 7TH VOYAGE OF SINBAD takes
place. Sinbad comes from Baghdad, which was founded in 762, but it
must be considerably later given the magnificence of Baghdad. I
would guess around 900, since after that Baghdad declined and was
conquered by the Mongols in 1258.

Sinbad and others are clearly Muslim, yet his behavior with the
princess is contrary to the laws of modesty (as is her clothing).

Released theatrically 23 December 1958.

Film Credits:
<https://www.imdb.com/title/tt0051337/reference>

What others are saying:
<https://www.rottentomatoes.com/m/seventh_voyage_of_sinbad>


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