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The Cyclops hunting for blood.
Credits
Director: Nathan Juran
Script: Ken Kolb, Ray Harryhausen (story)
Photo: Wilkie Cooper
Music: Bernard Herrmann
Cast: Kerwin Mathews (Sinbad), Kathryn Grant (Princess Parisa), Richard Eyer (The Genie), Torin Thatcher (Sokurah the Magician), Alec Mango (Caliph), Danny Green (Karim), Harold Kasket (Sultan), Alfred Brown (Harufa), Nana DeHerrera (Sadi), Nino Falanga (Gaunt Sailor), Luis Guedes (Crewman), Virgilio Teixeira (Ali)
Country: USA
Language: English
Support: Color
Runtime: 88 min
Synopsis
Sinbad the Sailor is returning to Baghdad with the Princess Parisa, whom he intends to marry to secure a lasting peace between their two countries. On the way, he and his crew land on the island of Colossa to replenish their stock of food and water. Here, Sinbad meets the sorcerer Sokurah, just as his men manage to get on the wrong side of a giant one-eyed monster, the Cyclops. Sokurah saves Sinbad’s crew from being barbecued by the Cyclops with the help of a genie from his magic lamp. Just as Sinband and his men reach the safety of their ship, Sokurah drops the lamp into the sea and the Cyclops seizes it. The sorcerer insists that Sinband takes him back to the island so that he can recover the lamp, but the sailor refuses and they continue on their way to Baghdad. There, having once more failed to get his own way, Sokurah shrinks Parisa in a ruse to force Sinbad to take him back to Colossa, Parisa can only be restored to her normal size with a magic potion made from the eggshell of a giant two-headed bird that is found only on the island. Once Sokurah has defeated the Cyclops and recovered his lamp, he will have no further use for Sinbad. The sailor and his crew will make a nice tasty snack for his pet dragon, or so he thinks...
© frenchfilmguide.com 2012
Film Review
One of the best-loved fantasy films of all time, popular with adults and children alike, The 7th Voyage of Sinbad was the first in a series of colour fantasy films that showcased the talents of special effects designer Ray Harryhausen. Willis H. O’Brien had pioneered stop-motion animation in the 1930s, most notably in the 1933 version of King Kong, but it would be his disciple and successor Harryhausen who would perfect the art, giving cinema some of its most enduring images. As well as the three Sinbad films he worked on, Harryhausen would also bring to life a plethora of dinosaurs in One Million Years B.C. (1961) and realise some of cinema’s finest ever special effects in Jason and the Argonauts (1963).
The 7th Voyage of Sinbad includes some of Harryhausen’s most memorable creations – the dancing snake-woman, the vicious two-headed roc, the fire-breathing dragon, a skeletal warrior
and, best of all, the gigantic cloven-hoofed Cyclops. This cavalcade of monstrous creations is clearly the film’s main draw and they certainly put their human co-stars to shame. The Cyclops alone has more charisma than the rest of the cast put together. The comparatively bland ensemble of human thesps were presumably selected not on the strength of their acting ability (which in many cases is pretty negligible) but so that they would not distract too much from the real stars of the show, the animated monsters. And rightly so.
It is the sheer genius of Ray Harryhausen’s work that makes this film so enjoyable and has prevented it from dating as much as it might. This colourful Arabian Nights-themed concoction of myth, sorcery and intrepid adventure is pure escapist fun that continues to delight and enthral. You can keep your soulless computer-generated effects wizardry, a complacent technology that has taken virtually all of the magic out of the art of special effects. The eye-popping spectacle that is The 7th Voyage of Sinbad gives us the real McCoy – effects you can genuinely marvel at and which leave you feeling that you’ve had your money’s worth.
© James Travers 2009
When a princess (Kathryn Grant) is shrunken by an evil wizard (Torin Thatcher), Sinbad (Kerwin Mathews) must undertake a quest to an island of monsters to cure her and prevent a war.
While sailing with Princess Parisa to Baghdad to their wedding, Sinbad finds the Colossa Island and anchors his vessel to get supplies for the starving crew. Sinbad and his men help the magician Sokurah to escape from a Cyclops that attacks them, and Sokurah uses a magic lamp with a boy jinni to help them; however, their boat sinks and he loses the lamp. Sokurah offers a small fortune to Sinbad to return to Colossa, but he does not accept and heads to Baghdad. The citizens and the Caliph of Baghdad are celebrating the peace with Chandra, and they offer a feast to the Sultan of Chandra. Sakurah requests a ship and crew to return to Colossa but the Caliph refuses to jeopardize his countrymen. However, the treacherous magician shrinks the princess and when the desperate Sinbad seeks him out, he tells that he needs to return to Colossa to get the ingredient necessary for the magic potion. But Sinbad has only his friend Harufa to travel with him, and he decides to enlist a doubtful crew in the prison of Baghdad, in the beginning of his dangerous voyage to Colossa to save the princess and avoid the eminent war between Chandra and Baghdad.
Jason and the Argonauts
Note: Do you guys think it's too sharp, because I think I've made it too sharp. Feedback is greatly appreciated guys. :)
Strobist info: Yongnuo YN460 ii in an octobox camera left @ 45 degree angle, silver reflector camera right, same.
A fellow photographer from the Glasgow Photography Club online meetup group (meetup.com), looking to capture sunset at The Falkirk Wheel.
Thanks for viewing :)
**Generally, I like my description to sort of match my image. Since this description is about me, here is... me! Ta-daaa*
Recently, I was asked several times why I haven't done more with photography. Then I was told that I should utilize the online world more to market myself... like facebook. After mentioning that I didn't want to create a facebook page for myself, I was asked, "Why not make a website?" I said, "I'm not ready yet." And then I got defensive when he said something along the lines of, "Are you unsure of yourself?"
There are a lot of reasons why I haven't had much freelance photography jobs. My immediate go-to (dubbed) "excuses" were:
1. I have a busy schedule with university.
2. I'm busy filming a movie.
3. I live in a college town (with no car) and most people seem plenty happy with iphone picture quality.
4. Most of them don't want to pay for pictures when they can take it themselves with their own DSLR. My eye for composition, lighting, or whatever doesn't matter to most people.
5. I'm known for my photos, but the general atmosphere is "You take nice pictures. Good for you," not "I want to hire you."
But the most important reason for me not to have an official website is because I personally do not feel like I have earned it yet. I do not feel like I should make a website that takes time and money to maintain when I have not even established myself as a photographer who makes a steady income, no matter how small it is. Some may say, "You can make a free website!" But on my standards, I would want my official website to have a domain name that belongs to me - something I paid for to have. I have set a pretty high standard for myself, and I want to make sure I showcase my utmost best, because I would be charging people money for what I do. How much I am worth and how much people are willing to pay is another tricky business that I have yet to sit down with myself and figure out.
I haven't reached the standard I have set for myself.
And that, I believe, is a perfectly excusable reason.
I built these for a feature in issue 20 of Blocks magazine. They were a lot of fun to work on, and posed some interesting challenges, particularly Mystique.
You know, it never did use that club in the movie, did it? Or rather, either club? (there were two distinct club props)
This immaculate Leyland -badged Albion Reiver was ambushed by me in a service station somewhere in New South Wales back in 1993. After absorbing some of its competitors Leyland saw Australia very much as its own export market and when supplying vehicles from its subsidiaries they were usually badge-engineered as Leylands.
Fujicolor Super HG 1600 expired 07/2001, exposed in 2017 as ASA 640. Digitalized and edited. Olympus OM-1 curtain malfunctioned at times, resulting in unexposed right side. Fuj16A_01
Class 47 no. 47087 "Cyclops" passes Kings Sutton with the 17.27 Paddington-Banbury on 12 August 1983.
47087 was new, as D1673, in May 1965. It was a renumbered from 47087 to 47624 when fitted with eth in 1984 and was later allocated 47748, but doesn't appear to have ever carried this number. It was withdrawn as 47624 in November 1998 and was scrapped at CF Booth, Rotherham, in September 2006.
D1673/47087/47624 was one of the original WR named 47s and carried the name "Cyclops" from June 1966-October 1989. It was then named "Saint Andrew" in May 1994 and carried this name until withdrawal.
Posted on Flickr 28 April 2020.
This is not our first run-in with a one-eyed cutie. There's no need to be alarmed, sixfoot refers to the number of feet he has, not his size. We suprised Sixfoot Cylops out on the porch trying his best to blend in with the surroundings. See also the original drawing.
Sixfoot Cyclops
thrifted fabric
recycled polyfill stuffing
original drawing by
six-year-old boy