crown, his mask dissolves, revealing his restored, unscarred face. Their quest completed, Sinbad and his crew journey back to Marabia. When Margiana asks him why he did not take the crown himself, Sinbad explains that he enjoys his freedom more than kinghood. With Margiana as his wife, and Haroun as a new member of his crew, they sail into the sunset. Cast John Phillip Law as Sinbad, the protagonist Tom Baker as Prince Koura, the main antagonist of the film (Christopher Lee was a front-runner to play Koura). Baker's performance helped him get the lead role of the Fourth Doctor in the TV series Doctor Who, because the show's producer, Barry Letts, was impressed with his performance. Takis Emmanuel as Achmed (Emmanuel was dubbed by Robert Rietti) Caroline Munro as Margiana Douglas Wilmer as the Grand Vizier of Marabia Grégoire Aslan as Hakim (as Gregoire Aslan) David Garfield as Abdul (as John D. Garfield) Kurt Christian as Haroun Martin Shaw as Rachid Aldo Sambrell as Omar Robert Shaw as the Oracle of All Knowledge (uncredited) Screenwriter Brian Clemens helped Munro land the role of Margiana: "I got the part – I had been signed by Hammer, for one year, for a contract, out of which I did two films, one being Dracula AD 1972, and the second one being Captain Kronos – Vampire Hunter, which, kind of, would come full-circle, to Sinbad. It was written and directed by Brian Clemens, who wrote the screenplay for The Golden Voyage of Sinbad, so, I was lucky enough to be chosen for Captain Kronos, and they were searching for somebody to do Sinbad, and they wanted a big name, somebody American, or well-known, but Brian said "No". He kept lobbying Charles Schneer [producer] and Ray Harryhausen — saying: 'I think you should come and look at the rushes, and see what you think, because I think she's right'. So, they said "No", but, eventually, Brian persuaded them to do that, and they saw the rushes, and that was how I got the part." Production Schneer said he and Harryhausen chose to do another Sinbad movie as they "felt it was time to go back to the Arabian Nights, since no one else has been dealing with it and we had a great success with it in the late fifties. We felt there was a new audience that was ready for it. We knew