On 13 March 2021, I finally viewed the DreamWorks animated movie Sinbad: Legend of the Seven Seas (not to be confused with the similarly-titled live-action movie Sinbad of the Seven Seas, which I have reviewed here), after owning it unwatched for over 13 years.
Directed by Tim Johnson and Patrick Gilmore, and released in 2003, this highly entertaining film very effectively showcases the aesthetic charm and artistic beauty of traditional animation, which, as someone raised upon the very best from Disney during its original Golden Age, I still enjoy more than even the most eye-popping computer equivalent. Its titular star, Sinbad the Sailor, the Arabian Nights' favourite mariner, is voiced very emphatically by Brad Pitt, as is his love interest, the feisty Lady Marina, by Wales's very own Catherine Zeta-Jones. Other notable members of the voice cast include Joseph Fiennes as Sinbad's childhood friend Prince Proteus, son of King Dymas, ruler of Syracuse, on the Italian island of Sicily, and Timothy West as the afore-mentioned Dymas.
However, just like I experienced a somewhat jarring mixing of mythologies when Arabian Nights djinns made an unexpected appearance in the 2010 CGI remake of the original Ray Harryhausen stop-motion Greek mythology-based Clash of the Titans that I watched recently and will be reviewing here shortly, so too did I with this present Arabian Nights-inspired Sinbad movie, due to the unexpected appearance in it of Eris, the goddess of discord and chaos from classical Greek legends. Having said that, she is animated wonderfully, all curls and swirls and curlicues, and voiced with deliciously seductive, silky malevolence by none other than Michelle Pfeiffer, so I'll readily forgive whoever dreamt up this particular example of the odd concept of culture clashing that occurs so extensively in this movie.
For yes indeed, Eris is not the only discordant – in every sense – aspect present here. Bearing in mind that its star is Sinbad, there is a notable absence of Middle Eastern ambience and geographical settings too. After having previously defeated out at sea, and with Proteus's help, the Greek mythological monster Cetus (which was replaced by the Norse sea monster the Kraken in both versions of Clash of the Titans – I hope that you're keeping up with all of these Hollywoodised mismatchings of traditional mythologies!), it is to Syracuse (as opposed to Damascus, Baghdad, or some other traditional Arabian Nights destination) that Sinbad travels. His goal is to steal its priceless, magical Book of Peace and hand it over it to Eris in exchange for untold riches, but when he meets up again with Proteus there, and his beautiful bride-to-be, Lady Marina, Sinbad has a change of heart and leaves without the Book.
Eris, however, is not best pleased by this conscience-driven turnabout on Sinbad's part, because ownership of the Book would enable her to plunge the entire world into perpetual chaos. So she steals the Book herself and frames Sinbad, ensuring that he will be blamed. But when King Dymas promptly sentences Sinbad to death, Dymas's son Proteus demands to take his friend's place, as is his right according to the customs of Syracuse, and he will thus be executed in Sinbad's stead at the end of a fixed stay of execution, unless Sinbad returns the Book within that period – which means that as he doesn't actually possess it, somehow Sinbad must steal the Book back from Eris.
Mindful, however, of what a danger-fraught, near-hopeless task such an attempt would be, Sinbad initially refuses, sailing away from Syracuse with his crew, until he unexpectedly discovers a stowaway on board, Lady Marina, who after much cajoling and many heated confrontations finally convinces him to do the right thing, even gaining the tacit support of his own crew. So off they go to retrieve the Book. There's just one slight problem – as it's held by Eris, they will have to voyage to the hellish Greek mythological realm of Tartarus, facing untold perils en route, if they are to procure it, because that's where Eris resides…
Like I say, there is a very distinct lack of Eastern promise here, but Sinbad: Legend of the Seven Seas is still an exciting, fun-packed movie, flush throughout with vibrantly colourful, breathtaking animation that never falters and is never less than spectacular. There are some superb larger-than-life monsters too, plus a touching, gradually flowering romance whose warmth slowly but surely melts the cold, mutual hostility initially present between Sinbad and Marina. Equally, hoswever, particular emphasis is placed upon not only following your heart but also listening to your conscience, subtly revealing that these two concepts are not always one and the same.
So despite containing some mixed-up mythology and geographical jiggery-pokery, Sinbad: Legend of the Seven Seas is definitely one of the better animated features to have been released during this present century, and I unreservedly recommend this swashbuckling saga very highly to all fantasy and cartoon movie aficionados everywhere.
And to put you in the mood for what this animated Sinbad vs Eris epic has in store, please click here to watch an official Sinbad: Legend of the Seven Seas trailer.
And to view a complete listing of all of my Shuker In MovieLand blog's other film reviews and articles (each one instantly accessible via a direct clickable link), please click HERE!
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