FosterAlbumen

A very in-between movie, but one whose shortcomings surprisingly pay off, specifically its generally low production costs which nonetheless offer some realistic glimpses of the urban-industrial Midwest in the mid-20th century. Some street scenes are obviously studio-shot, but other interiors appear to be ___location shots. Train-yards, depots, and downtown post offices provide the essential film noir element of an industrial complex. Aside from the excellent opening scene in general, perhaps the best set of all is the gang's "shack" that features near the film's end.

Other mixed bags that turn out OK: Alan Ladd isn't yet in decline here, so his impressive charisma is enhanced by his quickness afoot--in one scene he fairly skips--and though he's playing his usual laconic tough guy, his line delivery is crisp and he's paying attention to what the other actors are doing.

Among other actors, both women--Phyllis Calvert and Jan Sterling--make the most of roles that have little impact on the plot but divert the mood from its generally low-rent ambience.

Strongest of all in limited screen-time may be Harry Morgan, paired with later Dragnet partner Jack Webb as the murderers who start the story. Morgan's character throughout is strangely sweet, diabetic, even demented as he helps a nun and laments his wife deserting him with their son.

As a decided non-fan of Jack Webb, I even liked his part in the film, as he plays a reptilian heavy for whom Webb's stone-faced inexpressiveness is a perfect fit.

The negative critics at this site are correct that Sinbad the Sailor is overly talky and lacking in special effects, especially those featuring supernatural or mythical creatures, BUT the film is nonetheless a feast for the eyes, with a vast palette of colors in nearly every shot.

Also the sets are ingenious, giving an impression of epic scale despite evidently being shot with narrow frames entirely in a studio, while also focusing on small but splendid items like medallions, daggers, flasks, maps, cornices, furniture, etc.

Finally, both the leads and the character actors make the most of the obvious fantasy, dressed to the oriental nines despite a 100% Euro gene pool among those credited, such were the times. Fairbanks Junior fairly delivers a silent screen performance, with sweeping gestures and exaggerated expressions that are redeemed by his beauty and swagger.

Speaking of beauty, young red-haired Maureen O'Hara as an Arab princess has so much screen presence that she pulls any of her scenes through the mash of cross-ups and betrayals that keep the plot moving, if not always compellingly.

Anthony Quinn, George Tobias, and Walter Slezak do similar service for their scenes. A tighter plot would make this film a classic, but it's well worth a deliciously sensory two hours.

Most existentially bleak and beautiful are the sets: London as a city of polite strangers, an enormous prison atrium, a safe house with gothic exterior and antiseptic interior, coastal Ireland's cold-lit stone hills and fences. Leading man and lady are Paul Newman and Dominique Sanda definitely present beauty. Great supporting cast. The derided screenplay often sounds absurdist yet drives the film's sparse but painful violent action. The plucked-instrument score sounds mysteriously oriental.

I'm a melancholy fellow (with a mellow bellow) and loved it first-run during my junior year in college. As an oldster, I now watch movies only at home, usually for only minutes at a time before diverting, but last week as I DVR'd it from TCM I started watching too, couldn't stop for an hour till Missus called me to bed. I'll dig it again, and you should go with it.