O2D For some reason I really like Sinbad movies.Not just these great films by Ray Harryhausen, I also like Sinbad The Sailor and even Sinbad Of The Seven Seas just as much.This is your typical Sinbad story.Sailing, magic and hot women.What else do you need?A prince has been turned into a baboon by an evil witch so her son can become the king.I think that's the set up, it was confusing.There's a lot of talk about Muslim religion stuff, assuming we know that crap.Sinbad decides to drop everything to help the prince because he wants the princess.It may be hard to pay attention to the movie with the extremely hot Jane Seymour running around half nude but watching it a second time will be easy.This is a movie everybody needs to see.

Chase_Witherspoon Sinbad (Wayne) sets off to locate the antidote that will transform Prince Kassim from his baboon state back into the human he was before the evil Zenobia (Whiting) cast her spell, a task made all the more urgent as his altered state becomes increasingly irreversible. With the aid of an ageing wizard (Troughton), a princess (Seymour) and the blonde, blue-eyed Taryn Power (daughter of Tyrone Power) he sails the seven seas, contesting with mutated creatures (the minotaur, played by Dave Prowse pre-'Darth Vader') and other creatures, richly brought to life via Ray Harryhausen's stop-motion animation.Harryhausen fans will marvel at his technical capabilities; the scene In which Whiting is miniaturised, scampering about the ship's cabin while the crew try in vain to capture her before she can morph back into a seagull and escape is classic. For others, the cinematographic illusions will be dated or even amateurish. I guess that will depend on your vintage and preferences. Interestingly, this film was directed by Sam Wanamaker, the former blacklisted actor/director following a near decade long hiatus."Golden Voyage" (1974) was, in my opinion superior among the brace of Sinbad films that emerged in the mid seventies, but this is still an enjoyable romp, suitable for the family and one of the last of its ilk, indeed also for that of Harryhausen's imaginative creature effects.

NYLux If you ever wondered what movies you should be watching in high resolution technology this one should be on top pf the list. You want to see the details on the bronze minotaur (called Minaton here) the intricate patterns on the thousands of fabrics, and precious jewels, the different eye lash-layers on "evil" queen Zenobia and the expanse of ultra blue seas.The third of Ray Harryhausen's Sinbad films has apparently gotten a bad rap over the years, which I can not understand. It may be for Beverly Cross' script and some of the performances, notably Patrick Wayne as Sinbad, which I happen to think is totally fine and entertaining, but may not be perceived as such for those searching for dramatic acting. This rap should be disregarded as it is not only largely unfair, but inadequate in noting the entertaining values of this movie. No doubt it could have been better, but as an exciting adventure it is more than good, thanks to a strong cast and Ray Harryhausen's excellent animation.The story is about Kassim, the caliph of Baghdad, who mysteriously disappears at the very moment of his coronation. Sinbad, arriving in Baghdad both to sell his merchandise cargo, and also to see again his love interest, the caliph's sister played by a luscious, very young Jane Seymour. He is drawn into a trap, by Rafi, a dark handsome prince played by Kurt Christian set in a magnificent tent, which includes belly-dancing entertainment. His mother, the evil dowager queen Zenobia, played Margaret Whiting, who is more than familiar with the black arts is behind this plan and all others, as we know just by looking at him, that Rafi has no brains or sense of direction. Barely escaping an attack by three sword-wielding fire skeletal creatures, Sinbad finds Kassim's sister and a baboon, which is actually prince Kassim, as transformed by the magic of queen Zenobia so her own son could be caliph. At this very point we should wonder if this 'evil' woman is not actually just career oriented. In New York she would have been directing a real estate emporium or huge corporate conglomerate, maybe both, where Rafi could have just looked good in the publicity ads as she ruled ruthlessly; yet in time she would have done the charity balls, she would have even sponsored some cultural causes, eventually she would have been perceived as a pillar of society. It's all a matter of perception and historical placement, above all Location, location, location!In order to break Zenobia's spell on Kassim, Sinbad enlists an adequately wise and aged wizard, Master Malanthius and his sexy daughter, the hyper blond, hypnotized-looking Dione (Taryn Power), who also has some of the most vapid dialog in the movie. They meet in the ancient city of Petra, where the wizard lives, and the scene of arrival, and seeing the city through a rock is totally rewarding as a reason to see the whole film, it is so well done and awesome. All have to set sail for Hyperborea, a land at the North Pole magically immune to the polar region's snows. However, Zenobia and Rafi are following. Zenobia had actually had a confrontation scene by Sinbad's ship when she arrived in a feathered and veiled litter and argued with the silly vizier who was trying to look his best in a day-wear saffron and gold ensemble that was striking for the pheasant feathered adornment of his turban that looked like the whole bird was alive, and in heat. Zenobia has decided to enlist help too. She will be aided by a mechanical beast, a bull-headed robot created by Zenobia, and animated with a golden heart, baptized with the name Minaton, close enough to the ancient Minotaur of the labyrinth story. Although great looking as an accessory he is just an elaborate rowing machine in their metalized ship that looks more like an early submarine. The first thing they do is crush the spies that the vizier had set to watching their moves, against a rock as they start on the pursuit, an appropriately delightful moment of evil indulgence.The best part of the movie is Zenobia's transformation into a seagull so she can leave her ship and spy on Sinbad in his. She takes a potion and has a series of very erotic spasms in her elaborate bedchamber, and suddenly she is the bird. Her flight is not as lucky, once arrived, she transforms into a miniature version of herself and is unfortunately discovered by the baboon, who wrecks her plan, only after much difficulty she manages to change back to the seagull and escape, but there is not enough potion left when she turns into herself: She is left with a huge foot of a seagull attached to her leg instead of her human foot, and will stomp her way through the rest of the film.This film features quite a bit of character animation by Harryhausen. The baboon Kassim looks totally real playing chess and most of all in his dramatic scene when he sees himself in a mirror, and despairs over his change. Trog, a prehistoric giant who "is as frightened of us as we of him," as Malanthius sweetly remarks, is a direct ancestor of Shrek, and looks frightening yet endearing. Kassim and Dione manage to befriend Trog, and when Kassim is finally liberated of Zenobia's spell, we feel genuine regret as Trog is killed by Zenobia, again transformed, this time as Smilodon the tiger of the snows. This battle is unusually gruesome, and absurd, yet an exciting delight to watch as both her and Sinbad are endangered by falling ice spears.The happy ending in the coronation of Kassim as caliph allows us to admire in detail the Jewelled splendor of his court, the plasticized Formica of the rings, the unique, early zircons and other stones are all mystifying, specially when thrown together with pearls and feathers.

James Hitchcock Prince Kassim, the young heir to the throne of Baghdad, is magically transformed into a baboon by his evil stepmother, the witch Zenobia, who wants the throne for her own son, Kassim's half-brother Rafi. Sinbad, accompanied by Kassim's beautiful sister Princess Farah, as well as the Prince himself in his monkey form, sets sail in search of a cure. This being a Ray Harryhausen film, much of the plot involves the heroes struggling against various monsters, all animated by the stop-motion process which Harryhausen pioneered. This must be the only film in which the hero gets to fight a gigantic killer walrus. The title "Sinbad and the Eye of the Tiger" may refer to the fact that, having seen off the walrus, Sinbad then has to battle a sabre-toothed tiger, although I am not sure how the "eye" part fits in.This was the third and last of Harryhausen's films about the legendary hero Sinbad the Sailor, the others being "The Golden Voyage of Sinbad" and "The Seventh Voyage of Sinbad". It was not, however, Harryhausen's final film; that was to be "Clash of the Titans" from four years later. In the fifties and early sixties his techniques of film-making (which he named "Dynamation" or "Dynarama"), combining stop-motion animation with live action, seemed something new and exciting, opening up new possibilities for fantasy films. By the late seventies they were starting to look old-fashioned; there is little in "Sinbad and the Eye of the Tiger" (which came out in the same year as "Star Wars") to distinguish it from "The Seventh Voyage" which had come out nearly twenty years earlier.Today, of course, films made using the "Dynamation" process have a very retro feel to them, but I have long had a soft spot for Harryhausen's work ever since I was taken, as a child, to see a double bill of "The Seventh Voyage" and "Jason and the Argonauts" as part of a friend's birthday treat. I would not rate "Sinbad and the Eye of the Tiger" quite as highly as either of those films. The acting is variable; neither Patrick Wayne as the hero nor Taryn Power has the talent or the charisma of their famous fathers, but Margaret Whiting as Zenobia makes a splendidly over-the-top villainess, former Doctor Who Patrick Troughton is good as the wise old philosopher Melanthius and Jane Seymour as Farah looks as lovely as ever. With its fairy-tale Arabian Nights atmosphere, this film can perhaps best be described as the cinematic equivalent of a pantomime, and like most pantomimes serves as very enjoyable family entertainment. 6/10