![]() Here, as directed by Tim Johnson and Patrick Gilmore, with Raymond Zibach as production designer, the Loreleis are transparent Bond babes, apparently nude, who swirl and vanish as they sing their fatal music. Here, rather than deep in the underworld, as in Homer, it seems to be high in the firmament, with starry constellations near at hand to be transmuted into sea serpents, etc.įrom “The Odyssey,” Logan appropriates the Sirens, luring male mariners to destruction. But most other elements come not from Arabian tales, but from Greek and Roman myth, especially Eris, goddess of discord, and her otherworldly kingdom, Tartarus. ![]() The screenplay by John Logan also insinuates a huge sleeping whale from the first voyage into the narrative. The mythical Roc, here depicted as a huge arctic bird, figures in the second of Sinbad’s seven voyages in the original “Tales,” and two such monsters pelt the sailor’s ship with boulders in the fifth voyage. Oddly enough, in this moment of American adventurism in Middle East deserts, the handsome and vivid animated feature takes up the famed merchant of Baghdad from “The Arabian Nights.” Here, as voiced with brawling energy and dashing panache by the Heartland hot-throb Brad Pitt, Sinbad is not the rich adventurer of legend, but an older Ali Baba, a lusty proletarian buccaneer bent on plunder. ![]() “Sinbad: Legend of the Seven Seas,” DreamWorks’ pirate adventure, is tangled and strained, a mythological mishmash.
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