Sinbad and his crew intercept a homunculus carrying a golden tablet. Koura, the creator of the homunculus and practitioner of evil magic, wants the tablet back and pursues Sinbad. Meanwhile... See full summary »
John Phillip Law,
Upon moving into the run-down Spiderwick Estate with their mother, twin brothers Jared and Simon Grace, along with their sister Mallory, find themselves pulled into an alternate world full of faeries and other creatures.
Prince Ahmad is the rightful King of Bagdad but he has been blinded and cast out as a beggar. Now a captive of the wicked Grand Vizier Jaffar he is cast into a dungeon where he meets Abu, the best thief in all Bagdad. Together they escape and set about a series of adventures that involve a Djinni in a bottle, a mechanical flying horse, an all-seeing magic jewel, a flying carpet and a beautiful princess. Written by
Steve Crook <email@example.com>
When filming began in the US, the stricter censorship codes of the Hays Office there were applied. One of the most obvious differences between the scenes shot in the UK and those filmed in the USA is that the tops of the actresses' costumes were buttoned up all the way to satisfy the Hays Office. That kind of clue makes it easier to identify the US-shot scenes than trying to spot differences in the sets. See more »
When Ahmad is to be executed, his head is held down with a rope to steady it. But when the executioner raises his sword the next shots of Ahmad show that the rope has disappeared. See more »
Forget Ahmad. He's no longer blind. For a man with eyes the world is full of women. Only I am cursed, that I can see only you.
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Like the Arabian Nights this film plays with storytelling conventions in order to make us feel that there's plot, plot and more plot: it opens with what appears to be the frame device of a blind man telling the story of his life, then plunges into a flashback which takes us right up to the blind man's present, where we discover that about half of the story is yet to come. (It must be admitted that the second half doesn't quite live up to the promise of the first.) Like the Arabian Nights it tries to cram as many Middle-Eastern folk motiffs as possible into the one work. A freed genie, a beautiful princess, a flying carpet, fantastic mechanical toys, sea voyages, a crowded marketplace, a wicked vizier, jewels ... I don't know why it all works, but it does. Everything is just so beautiful. The sets are beautiful. June Duprez is beautiful. Rozsa's score is especially beautiful. As usual, it sounds Hungarian; but somehow he manages to convince us that he's being Hungarian in a Persian way.
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