Redwarmin This movie is the proof that the world is becoming a sick and dumb place

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Juana what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

Geraldine The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

Claudio Carvalho In Baghdad, the poet Omar Khayyam (Vincent Price) is seeking out his friend Sinbad (Dale Robertson), who is wanted by the caliph (Leon Askin), wandering through the streets and markets of the city. When Omar finds his womanizer friend, Sinbad asks for poems to seduce Nerissa (Lili St. Cyr), who is one of the caliph's wives, in the palace. Sinbad encounters Nerissa in the harem and the slave Ameer (Sally Forrest) is jealous of him since she loves the sailor. Another slave sees Sinbad and beats the gong summoning the guards.Sinbad and Omar are arrested. They are brought to the caliph, together with the wise Simon Aristides (Raymond Greenleaf) and his daughter Kristina (Mari Blanchard) that are Sinbad's old friends and are unfairly accused of theft, to hear their sentences. However, the ambassador of the Tartar leader Tamerlane, Murad (Ian MacDonald), arrives in the palace and the caliph's adviser Jiddah (Jay Novello), who is a traitor, advises the caliph to not resist to the violent army that intends to invade Bagdad. Nevertheless, Sinbad tells to the caliph that Simon and Kristina know the secret of the powerful explosive Greek Fire and the caliph offers their freedom for the formula. But Jiddah and Murad see the demonstration of the explosive and kill Simon and kidnap Kristina. Sinbad offers to help the caliph to bring Kristina back and he rides with Omar through the desert. Ameer that belongs to the brotherhood of the forty thieves helps Sinbad and together with the army of the forty female thieves, they fight against the Tartar warriors to save Kristina and Bagdad."Son of Sinbad" is a highly entertaining adventure with a funny story and a incredible cast of beautiful actresses, including Kim Novak in an uncredited participation. Vincent Price "steals" the film in the role of a poet that helps the seducer Sinbad with the women, recalling the romantic poet Cyrano de Bergerac helping his friend Christian de Neuvillette to seduce Roxane. My vote is seven.Title (Brazil): "O Filho de Simbad" ("The Son of Sinbad")

bkoganbing Son Of Sinbad is a film that follows the old studio rule that when you have an expensive picture and build an expensive set, get some use out of it. Any film fan will readily recognize the sets that were used in the RKO classic Sinbad The Sailor that starred Douglas Fairbanks, Jr. and Maureen O'Hara.Fairbanks had the style and dash to play the scimitar wielding Sinbad, ladies man and teller of tall tales. I suspect Sinbad also told a lot of tales about the women as well as the voyages in his life. But here we get poor Dale Robertson who must look back on this film with no amount of horror. But as he was working for Howard Hughes I'm sure that Robertson did not have to worry his paycheck wouldn't clear.In the Citadel film series book, the Films of Vincent Price both Price and Sally Forrest who played one of the many women in the cast both looked back with amusement on the whole thing. Price acknowledged that he hammed up his part of Omar Khayyam to the hilt. The role did give the classically trained actor a chance to speak Omar's immortal lines for the screen.The plot if you can call it involves Sinbad and Omar Khayyam teaming up to save the Caliph Leon Askin from the invading Mongol hordes of Tamerlane. They also manage if you can believe to bring Aladdin's magic lamp and the Amazonian descendants of Ali Baba's Forty Thieves. This is an errand for their lives because Askin already has Robertson and Price under a death sentence for some harem indiscretions.All this was an excuse for Howard Hughes to put in as many opportunities as he could to bring in as much leg and cleavage as he could pack on the screen at one time. At the drop of a gold dinar a harem dance number will occur, too bad the silly plot had to get in the way.The film was shot in 1953 and waited two years for release, something not unheard of in the RKO years of Howard Hughes. It awaited approval of the Legion of Decency which controlled the censorship of films. Hughes apparently had to cut some of the more revealing scenes before inflicting this on the general public.Son Of Sinbad gets as high a rating as it does for the sheer campiness of the film. Don't give this film one serious moment of viewing if you choose to watch it. Apparently the players didn't.

pamandgeoffjones I saw the film originally in 1956 ( I would have been 10!) I have seen the movie a few times since. However I seem to recall additional scenes not in the TV versions? For instance I recall one of the 40 Thieves captured by the Mogul's Army?Have I imagined this?I saw the film with my Grandfather at a Cinema now turned into a Supermarket!! I remember feeling very embarrassed at the content, I'm sure he wouldn't have realised how explicit it would have been for it's day. Probably had no idea that Howard Hughes was the Producer or the background as to why he used so many beautiful young women. I've never forgotten the impact on me, so that has to be a good thing.

Igenlode Wordsmith Back when I first saw this, I was enchanted by the verses of Omar Khayyam (which I innocently supposed to be have been created for the script), excited by the spectacle, delighted to recognise allusions to so many familiar stories rolled into one, and heartily entertained by the comedy. Watching it again nowadays, I can't help noticing how the picture is completely dominated by the producer's desire to feature as many half-naked girls as can conceivably be shovelled into its slender plot.Thanks to the engaging double-act of the two male leads (Vincent Price as Omar still steals the show) the film remains a watchable romp, but the extended dancing sequences threaten to wreck the otherwise brisk pacing. I suspect they either pall or enthral, according to taste. Where other "Sinbad" films will show you a few seconds of exotic dance as an establishing shot, this one lovingly retains the camera throughout the whole routine -- or several! The heavy mining from other sources of legend -- whether the secret of Greek Fire (nowadays assumed to have been napalm), the conqueror Tamerlaine, the tale of Ali Baba and the Forty Thieves, or well-known lines from the Rubaiyat -- also now tends to suggest a certain laziness in the writing of the script, rather than inspiring a delighted recognition of familiar allusions. I'm afraid I'm probably too sophisticated these days to be able to enjoy "Son of Sinbad" whole-heartedly any longer... which in a way is a shame. It's still a lively adventure with a saving sense of the absurd and an unabashed penchant for spectacle, but I can't in all honesty rank it above the rest.