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 »
In his homeland of Alagaesia, a farm boy happens upon a dragon's egg -- a discovery that leads him on a predestined journey where he realized he's the one person who can defend his home against an evil king.
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 Sinbad meets the Vizier who has another part of the interlocking golden map, and they mount a quest across the seas to solve the riddle of the map, accompanied by a slave girl with a mysterious tattoo of an eye on her palm. They encounter strange beasts, tempests, and the dark interference of Koura along the way. Written by
Ed Sutton <firstname.lastname@example.org>
Not a patch on '7th Voyage',but great fun all the same
Made 14 years after The 7th Voyage Of Sinbad, this follow up is ,unsurprisingly, not as good, but that WAS a ground breaking classic. Perhaps sensing that they could not top the first film, the filmmakers give this movie a slightly different feel. If 7th Voyage was full of colour and size, Golden Voyage is somewhat darker and less spectacular. Most of the action occurs at night or in caves, while none of the creatures are especially large. This makes Golden Voyage slightly less of a delightful romp, but it's certainly not just a rehash. There is a strong sense of the uncanny to some scenes,such as the villain's resurrection of the tiny humunculus, or the coming to life of the ship's figurehead.
The pace is possibly a little two leisurely, but the action is still terrific, the showstopper being Sinbad and his men battling the 6 armed statue of the Indian goddess Kali, a masterpiece of effects and editing. Tom Baker is the most sinister of all Harryhausen's villains, and Miklos Rozsa's wonderfully rich and grand score never fails to provide excellent backing. It's very different from Bernard Herrmann's classic Harryhausen scores, but as effective.
Despite their flaws, there is a wonderful innocence to these Harryhausen films. A modern version would be filled to the brim with CGI, hyperactive editing, 'clever' laughs that show that no one is bothering to take any of this seriously ,etc....... Is that really an improvement?
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