Sinbad is a story teller who weaves great adventures about - himself. Whether they are true or not, no one knows. For this is the story of the eight adventures of Sinbad - as told by Sinbad... See full summary »
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A film that qualifies as a Travelogue Documentary in that it contains footage of world-famous race tracks such as England's Ascot, Palermo in South America, and Churchill Downs, Jamaica, ... See full summary »
An Irishman leaves to make his fortune in America, in the mean time, a custody battle arises over a talented little girl between one sister that loves her and another who only seeks the money offered to care for her.
Sinbad is a story teller who weaves great adventures about - himself. Whether they are true or not, no one knows. For this is the story of the eight adventures of Sinbad - as told by Sinbad. A ship saved by Sinbad and Sabu. A treasure map to the treasure of Alexander the Great, which mysteriously disappears from the ship. The beautiful Shireen - the woman who has stolen the heart of Sinbad. The evil Amir who wants the treasure for himself to own the world. The deadly Melik, who will stop at nothing and kill anyone to have the treasure. A perilous voyage to a mysterious island where the treasure is said to be held. Written by
Tony Fontana <firstname.lastname@example.org>
Wires are visible on the black bird as it circles the ship's mast. See more »
O Masters, O Noble Persons, O Brothers, know you that in the time of the Caliph Harun-Al-Rashid, there lived on the golden shore of Persia a man of adventure called Sinbad the Sailor. Strange and wondrous were the tales told of him and his voyages. But who, shall we surmise, gave him his immortality? Who, more than all other sons of Allah, spread glory to the name of Sinbad? Who else, O Brother, but...
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The title appears as if it were being poured, in colored water, by faucets into a reflecting pool. See more »
After I first saw this charming film I was puzzled by its relative obscurity. It isn't exactly unknown, but scarcely anyone regards it as a classic. Aside from me, that is. The Technicolor photography of George Barnes is Oscar-worthy, with its bright blues and reds it evokes the best of Wyeth and Pyle. On its color alone the movie can bear comparison with the best of Powell and Pressburger, and yet no one the best of my knowledge has ever made such a comparison. The sets are grand, and the lost island kingdom makes a lovely visual set-piece. Art directors Clark and D'Agostino deserve special mention as well. John Twist's script cannot be called brilliant, but it is reasonably clever, and if not particularly inspired, neither are the scripts of most of the better known swashbucklers that Flynn and Power made. Douglas Fairbanks, Jr. is suitably dashing as the wily Sinbad. His is a graceful, even gracious presence, and he has a bird-like swiftness to him that I find pleasing, appropriate to his character's basic elusiveness, and he never overdoes it. While he looks at times a bit mature for such a boy's hero type it's worth keeping in mind that a too-youthful Sinbad wouldn't be a good thing, either, as it's as important that the character convey experience as it is for him to engage in swordplay. That this take on Sinbad presents him as somewhat of a philosopher, it's just as well that Fairbanks appears to be in early middle age, and therefore to have had some years to reflect on life.
Richard Wallace directs the film capably. The pace isn't as quick as one might always wish, yet this is more than compensated for by the movie's visual lushness. Maureen O'Hara makes an agreeable if incongruously Hibernian leading lady, while Anthony Quinn is more quiet than usual as a bad guy. Walter Slezak, as the devious Melik, steals the film acting-wise, giving an outrageously effete yet disciplined performance, with subtle hints of homosexuality, that is as good as anything that Rathbone or Laughton ever did, and far less hammy. Many of the supporting players,--Sheldon Leonard, George Tobias, Ben Welden, Mike Mazurki--suggest Damon Runyon in the Orient, and while absurd they are no worse than the standard-issue Brits that usually played these kinds of roles. They are also, like the film itself, a lot of fun, and a delightful change of pace.
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