Sinbad and the Eye of the Tiger (1977)

Sinbad and the Eye of the Tiger (1977) is the third and final entry in the Columbia Pictures trilogy of fantasy-adventure films featuring the legendary sailor Sinbad, following The 7th Voyage of Sinbad (1958) and The Golden Voyage of Sinbad (1973).

Like its predecessors, the film is celebrated primarily for the stop-motion animation wizardry of Ray Harryhausen, who serves as the film’s chief draw. Directed by Sam Wanamaker and written by Beverley Cross, Eye of the Tiger tries to blend myth, adventure, romance, and exotic locales into a tale of heroic determination and monstrous encounters.

While visually imaginative and rich in nostalgic appeal, Sinbad and the Eye of the Tiger received mixed reviews upon release. Today, it remains a beloved piece of fantasy cinema for fans of Harryhausen’s work and the sword-and-sorcery genre, albeit with some noted shortcomings in pacing, performance, and storytelling.

Plot Overview

The story begins as Sinbad (played by Patrick Wayne), the famed Arabian adventurer, arrives in Charak to seek the hand of Princess Farah (Jane Seymour). He finds that her brother, Prince Kassim, the rightful heir to the throne, has been turned into a baboon by a dark spell. This enchantment was cast by the wicked sorceress Zenobia (Margaret Whiting), who intends to place her own son on the throne.

Determined to restore Kassim and defeat Zenobia, Sinbad, Farah, and a band of allies—including the ancient Greek alchemist Melanthius (Patrick Troughton) and his daughter Dione (Taryn Power)—set sail on a perilous voyage to the land of the Arimaspi, where they seek a cure for the prince’s condition.

Along the way, the heroes encounter a host of mythical creatures, including a giant walrus, a saber-toothed tiger, reanimated prehistoric creatures, and a towering troglodyte. Zenobia pursues them through magic and cunning, using her powers to thwart their mission at every step.

Cast and Performances

Patrick Wayne as Sinbad

Patrick Wayne, son of legendary actor John Wayne, has the look of a classic matinée idol but lacks the charisma and depth of earlier Sinbad actors like Kerwin Mathews and John Phillip Law. His performance is serviceable but somewhat wooden, and his delivery often feels flat. While he handles the action sequences adequately, he struggles to inject gravitas or swashbuckling energy into the role, which weakens the heroic core of the film.

Jane Seymour as Princess Farah

Jane Seymour brings grace and regal beauty to the role of Farah, offering more than just ornamental support to the story. Though the script doesn’t offer her many opportunities for deep character development, Seymour’s natural charm helps make her character sympathetic and grounded. Her chemistry with Wayne is tepid, but she stands out in moments of quiet resolve.

Taryn Power and Patrick Troughton

Taryn Power, daughter of Tyrone Power, plays Dione with spirited enthusiasm, although like most female characters in this genre, she is given limited agency. Patrick Troughton (best known as the Second Doctor in Doctor Who) is a highlight of the film as Melanthius. His portrayal of the eccentric but wise alchemist adds a layer of gravitas and gentle humor to the film, elevating many of the scenes he appears in.

Margaret Whiting as Zenobia

Whiting’s performance as the villainous sorceress Zenobia is one of the more memorable aspects of the film. She plays the role with icy poise and theatrical menace, giving the character a convincingly sinister presence. Her obsession with power and her dark magic are integral to the story, and Whiting rises to the challenge with a villainous flourish.

Ray Harryhausen’s Special Effects

The centerpiece of the film—and indeed its main attraction—is the creature animation by Ray Harryhausen. His legendary stop-motion effects bring to life a suite of mythical beasts that still capture the imagination decades later. Notable sequences include:

The Baboon: Arguably Harryhausen’s most expressive creation in this film, the baboon (Prince Kassim) is imbued with human-like behavior. Its mournful eyes, gestures, and attachment to his sister show Harryhausen’s ability to evoke empathy through clay and wire.

The Giant Walrus: An intense and chaotic battle in the icy north features a tusked behemoth emerging from beneath the snow. While not as iconic as other Harryhausen monsters, it’s a dynamic and surprising confrontation.

The Troglodyte: A gentle, primitive creature who aids Sinbad and his allies, the troglodyte is a creative invention—somewhat reminiscent of the Cyclops from The 7th Voyage. His noble sacrifice at the climax adds emotional weight to the finale.

The Saber-Toothed Tiger: In the film’s climactic confrontation, a resurrected tiger engages the troglodyte in a memorable battle. The fluidity and intensity of this scene is one of the visual highlights of the film.

While the animation remains charming and impressive, by the late 1970s, the style was beginning to feel dated in the face of technological innovations seen in films like Star Wars (1977). Nevertheless, for lovers of fantasy, the craftsmanship is timeless.

Direction, Pacing, and Score

Sam Wanamaker’s direction is competent but uninspired. The pacing is uneven, especially in the film’s midsection, where exposition tends to drag and the journey lacks urgency. While Wanamaker dutifully guides the narrative forward, he does little to elevate the material beyond its pulp fantasy roots.

Roy Budd’s musical score is adventurous and suitably epic in tone, though less memorable than Bernard Herrmann’s earlier work on The 7th Voyage. Budd’s music complements the film's set pieces well, adding sweep to the action and mystery to the quieter scenes.

Visual Design and Cinematography

Shot in scenic locations such as Almería in Spain and Petra in Jordan, the film is visually arresting in places. The use of natural landscapes gives the adventure an exotic, storybook quality. The production design blends Arabian Nights influences with Greco-Roman fantasy, which fits the mythic tone of the narrative, although the costumes and sets occasionally veer into camp.

The cinematography is lush when showcasing natural backdrops but more static during dialogue-heavy sequences. There’s a noticeable lack of kinetic energy in some action scenes, perhaps due to the technical challenges of blending live action with stop-motion effects.

Reception and Legacy

Upon its release, Sinbad and the Eye of the Tiger was met with lukewarm critical response. Critics cited weak acting, formulaic plotting, and outdated visual effects. However, it performed modestly well at the box office and developed a loyal following over the years, especially among fans of Ray Harryhausen and 1970s fantasy cinema.

While not as polished or narratively tight as The Golden Voyage of Sinbad, the film is still a testament to Harryhausen’s enduring artistry. It holds a nostalgic charm that continues to appeal to genre enthusiasts, and it remains a fixture in retrospectives of classic adventure-fantasy filmmaking.

Conclusion

Sinbad and the Eye of the Tiger is an uneven but endearing fantasy epic. Its flaws—stiff performances, slow pacing, and a thin script—are often forgiven thanks to Ray Harryhausen’s extraordinary creature effects and the film’s sheer imaginative spirit. Though it lacks the cinematic finesse of contemporary blockbusters or the narrative richness of earlier fantasy tales, it encapsulates a type of earnest, handcrafted adventure filmmaking that has largely vanished from the modern era.

For fans of myth, magic, and monsters—especially those with a fondness for vintage special effects—Sinbad and the Eye of the Tiger remains a worthy, if flawed, treasure from a bygone cinematic age.