COMIC DETAILS
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Comic Description:
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Four Color 944 Universal
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Grade:
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9.2
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Page Quality:
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OFF-WHITE TO WHITE
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Pedigree:
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File Copy
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Certification #:
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0244673004
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Owner:
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4GEMWORKS
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SET DETAILS
Owner's Description
The 7th Voyage of Sinbad 09/58 File Copy
Script: Gaylord Du Bois
Pencils and Inks: John Buscema
PHOTO Cover & inside Front cover; Movie Starred; Kerwin Mathews as Sinbad, Kathryn Grant as Princess Parisa, Richard Eyer as Barani the Genie; Classic top-motion animation
This was based on the movie of the same name which did very well.
Table of Contents
1. 0. The 7th Voyage Of Sinbad
2. 1. [no title indexed]
3. 2. The 7th Voyage Of Sinbad
4. 3. Monsters Encountered by Sinbad
5. 4. Map of Island of Colossa
Wikipedia provides additional backdrop on the reception and success of the actual motion picture:
The 7th Voyage of Sinbad is a 1958 Technicolor fantasy film from Columbia Pictures, produced by Charles H. Schneer and directed by Nathan H. Juran. This was the first of three Sinbad feature films from Columbia, the much later two being The Golden Voyage of Sinbad and Sinbad and the Eye of the Tiger). All three Sinbad films were conceptualized by Ray Harryhausen who used a full color widescreen stop-motion animation technique he created called Dynamation.
While similarly named, the film does not follow the storyline of the tale "The Seventh Voyage of Sinbad the Sailor" but instead has more in common with "The Second Voyage of Sinbad the Sailor", which featured the giant roc bird.
The 7th Voyage of Sinbad was selected in 2008 for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
It took Ray Harryhausen 11 months to complete the full color, widescreen stop-motion animation sequences for The 7th Voyage of Sinbad. Harryhausen's "Dynamation" label was used for the first time on this film.
Harryhausen gave the Cyclops a horn, furry goat legs, and cloven hooves, an idea based upon the concept of the Greek god Pan. He lifted much of the creature's design (for example the torso, chest, arms, poise and style of movement) from his concept of the Ymir (the Venusian creature from his earlier 20 Million Miles to Earth). He used the same armature for both figures; to do this, he had to cannibalize the Ymir, removing the latter's latex body.
Harryhausen researched the Cobra-woman sequence (when Sakourah entertains the Caliph and the Sultan) by watching a belly dancer in Beirut, Lebanon. During the performance, Harryhausen says, "smoke was coming up my jacket. I thought I was on fire! It turned out the gentleman behind me was smoking a hookah!" The Cyclops is the film's most popular character, but Harryhausen's personal favorite was the Cobra-woman, a combination of Princess Parisa's maid, Sadi, and a cobra.[3]
The film's original script had a climax that involved two Cyclops fighting. In the final version, however, the climactic battle featured a single Cyclops versus a Dragon. The model of the Dragon was more than three feet long and was very difficult to animate; the fight sequence took nearly three weeks for Harryhausen to complete. Originally, it was planned to have the Dragon breathing fire from its mouth during the entire sequence, but the cost was deemed too high. So the scenes where it does breathe fire, Harryhausen used a flamethrower, shooting out flames 30 to 40 feet against a night sky, then superimposeing the filmed fire very near the Dragon's mouth.[4]
The sword fight scene between Sinbad and the skeleton proved so popular with audiences that Harryhausen recreated and expanded the scene five years later, this time having an army of armed skeletons fight the Greek hero Jason and his men in 1963's Jason and the Argonauts.[5]
The stop-motion Cobra-woman figure used for the film was cannibalized 20 years later in order to make the Medusa figure in Harryhausen's final film, Clash of the Titans.
Score
The music from The 7th Voyage of Sinbad was composed by Bernard Herrmann, better known for his collaboration with the director Alfred Hitchcock. Herrmann went on to write the scores for three other Harryhausen films, namely Mysterious Island, The Three Worlds of Gulliver, and Jason and the Argonauts, but Harryhausen regarded the score for The 7th Voyage of Sinbad as being the finest of the four due to the empathy which Herrmann's main title composition displayed for the subject matter.
The soundtrack producer Robert Townson, who re-recorded the score in 1998 with the Royal Scottish National Orchestra, described the music as rich and vibrant, commenting "I would cite The 7th Voyage of Sinbad as one of the scores which most validates film music as an art form and a forum where a great composer can write a great piece of music. As pure composition I would place Sinbad beside anything else written this century and not worry about it being able to stand on its own."[6]
Reception
The 7th Voyage of Sinbad was, and continues to be, well-reviewed by critics and audiences alike, with many saying that it is the best film of the "Sinbad" trilogy. It has a 100% rating at the aggregate movie review website Rotten Tomatoes,[7] with several reviewers citing its nostalgic value. Mountain Xpress critic Ken Hanke calls it "Childhood memory stuff of the most compelling kind."[8]
http://en.wikipedia.org/wiki/The_7th_Voyage_of_Sinbad
Some data courtesy of the Grand Comics Database under a Creative Commons Attribution license. http://www.comics.org/
http://creativecommons.org/licenses/by/3.0/legalcode
http://www.comics.org/issue/14643/
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