 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
American, you've got good taste. This has been a dear favorite since childhood, the film and the score. Hope you can get to see that Technicolor splendor projected some time. (When I was a kid, even in black-and-white on a tiny screen the movie soared.)
Well, John and Bill, we've discussed this before -- what say?
Frank Skinner ARABIAN NIGHTS
H.J. Salter THE PRINCE WHO WAS A THIEF
Roy Webb SINBAD THE SAILOR
|
|
|
|
|
|
And how 'bout Victor Young's "Omar Khayyam?"
|
|
|
|
|
|
KHAYYAM is glorious, although it's had much better album presentation than any of the other three titles. I certainly wouldn't object to hearing more of Young's score...
|
|
|
|
|
|
Or at least have a legitimate CD release of what was on the LP.
|
|
|
|
|
|
Amen.
|
|
|
|
|
|
|
|
|
|
I've always enjoyed the film, even if the story's too convoluted, the sets unimaginative (except the Deriabar palace, which is gorgeous), and Fairbanks, jr. is trying too hard to outdo the late Fairbanks, Sr., in the sort of acrobatic mugging that went out with the advent of sound.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
FWIW, Tender, I very much enjoyed Fairbanks handling of all that great John Twist dialogue, and rather than an attempt to outdo his father (presumably in THE THIEF OF BAGDAD), I found his balletic moves to be an image to his old man, and not out of place in what was, after all, an over-the-top fairy tale adventure.
|
|
|
|
|
|
|
|
|
|
I don't know how I missed this thread all these years. I'm almost certain I've started a Sinbad the Sailor thread or two on my own, as well as posting about it many times in other threads because it is a Holy Grail of mine, perhaps THE Holy Grail of mine.
This has been a favorite film and favorite score since childhood for me. In terms of Middle Eastern adventure, think both are actually better than the much-more-famous Thief of Bagdad (which I also grew up with and love, just not as much). The only thing that's rather weird for me is Maureen O'Hara's casting, but she's fiery and fun so I overlook the fact that she *looks* so out of place. Anthony Quinn is a compelling and charismatic antagonist, one of my favorite performances of his. Douglas Fairbanks Jr. is a lot of fun, honestly, as is George Tobias as his sidekick, Abbu. But perhaps my favorite performances of all is Walter Slezak. I won't say more for fear of spoilers, but he's a great character!
The film looks absolutely gorgeous (maybe the most beautiful RKO production I've seen) and the script is honestly very well done. Enjoyable, with a mixture of camp (appropriate since it's basically a tall tale being related by Sinbad the storyteller...or is it?) and (seriously) depth: Where is Deriabar?
And then there's the score! What a masterpiece. My favorite Roy Webb score (and I love his work), and one of my favorite Golden Age scores, up there with the best of the best by Korngold, Rozsa, Herrmann, Waxman, Newman...
I'm still ticked off at Bill Whitaker! I've never met him, and he's an excellent scholar and writer, but my friend John Morgan told me it was Bill (I'm pretty sure) who talked him out of recording Sinbad the Sailor as their Roy Webb album, convincing them that suites from Val Lewton films had more sales appeal. But on its own musically, Sinbad the Sailor is at the tip top of Webb's output. He sort of has a reputation of being such a subtle composer, but Sinbad has big romantic in-your-face themes...epic exotic adventure music! It is SO good and I would be over the moon if somehow it got a complete Tadlow recording...but assuming they ever start recording again I suspect it's not the highest priority for them.
There is a bit of hope however, beyond the 5 minute suite from the original film recording included on the Cloud Nine Roy Webb compilation. I am positive that none other than Bruce Kimmel on this board has said he believes this score survives in some recorded form (I can't remember if they were acetates or what). Unfortunately Kritzerland doesn't currently have a relationship with Warner Bros., who owns the RKO catalogue now, but maybe someday he'll put this out. Other hope: a Twilight Time Blu-ray with isolated score track.
It is so awesome to see more people discovering this film and score, or chiming in about their love for it.
Yavar
|
|
|
|
|
|
|
This film is not in my library's dvd collection. Dang!
|
|
|
|
|
|
Yavar, you're a man after my own seafaring heart. One mustn't be too hard on Bill W. He was after all only cautioning John and Bill S. about what was probably very true concerning the relative commerciality of two possible Webb projects. Me, I'd have been totally torn about which one to choose, so great is my childhood love for the music of both Sinbad and Val Lewton. I wouldn't be torn about preferring THIEF OF BAGDAD over SINBAD as a movie, but only because THIEF is a fantasy, whereas SINBAD is a fantastic adventure. I do love it dearly, but sometimes wish they had managed to incorporate the supernatural into that superlative story-telling.
For me, the excellence of Webb's score is apparent from the very first scene, where every bar of his colorful music catches every nuance of Sinbad's narration and the accompanying visuals. And of course, the whole score is just gorgeous.
David, SINBAD is available on DVD, and for a library-goer such as yourself who is content to see a film without possessing it, they show it frequently on TCM.
|
|
|
|
|
|
|
Yavar, you're a man after my own seafaring heart. One mustn't be too hard on Bill W. He was after all only cautioning John and Bill S. about what was probably very true concerning the relative commerciality of two possible Webb projects. Me, I'd have been totally torn about which one to choose, so great is my childhood love for the music of both Sinbad and Val Lewton. I wouldn't be torn about preferring THIEF OF BAGDAD over SINBAD as a movie, but only because THIEF is a fantasy, whereas SINBAD is a fantastic adventure. I do love it dearly, but sometimes wish they had managed to incorporate the supernatural into that superlative story-telling.
If you want supernatural Sinbad, you've got the Harryhausen films among others. IMO it wouldn't have worked for this wonderful film, because the whole point is that after spinning countless tall tales for his audience (the famous first seven fantastical voyages), Sinbad's final tale (his eighth, otherwise unrecorded) actually turns out to be a true one, backed up by Maureen O'Hara appearing at the end. I think it's perfect!
For me, the excellence of Webb's score is apparent from the very first scene, where every bar of his colorful music catches every nuance of Sinbad's narration and the accompanying visuals. And of course, the whole score is just gorgeous.
Very well put, Preston. It truly is one of the greatest scores of the Golden Age, and it's sad that so few people are aware of it (though its heartening that this thread is evidence that more people are becoming so).
I have just decided that this masterpiece will be the first non-Goldsmith score for which I do a Complete Score Breakdown (in fact I will probably write Advance Liner Notes, though an album will likely never come).
Yavar
|
|
|
|
|
|
|
|
|
|
|
Sadly true, musicnow.
Yavar, you've got a point about the reason for the film's perfection -- don't get me wrong, I do love the film as is -- and I'll enjoy pondering your perspective. As for a recording... You're much too young to give up hope. (Or is that a very old photo of you?) Life is full of surprises.
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
