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This film seemingly chronicles the exploits of a Casanova in the early years of the 20th century. Sensual Szindbad (Zoltan Latinovitz) leaves behind broken hearts and fond memories when he moves from one woman to another. Some of them, overwhelmed by their tragic attachment, seek to have him join them in a suicide pact, others carelessly toss their lives away. He remains fundamentally untouched, but he finally gets his comeuppance - he is dying Krúdy, Huszárik and Latinovits's Szinbad is a film elegy with an odd, volatile atmosphere in lyricism almost surreal. Krúdy(the writer) is identified in the film as Szinbád. He's looking for the meaning of life, eternity on the ship of memories - preoccupied in the beauties of nature, music, nice women, girl's hair, strokes, sensitive walks, tearful hours, grievous farewells. The attracted women offer lasting love, and for that very reason he he proceeds to the upcoming in wonderful colours of life and resignation generative passing, death.

I've just recently discovered this gem of the Hungarian cinema on the Second Run DVD series (many "lost" and recently restored excellent films,especially of the Eastern Europe,can be found there).It's a feast for one's eyes and mind.A visual masterpiece of rare beauty,full of philosophical thoughts about love,the meaning of life and death.The story is about a man looking back on his life,remembering many women he once loved and now,at the end of his life road, trying to come to terms with his own past.It is a slow movie,with lots of flashbacks of beautiful women,gorgeous places and landscapes,fine interiors and effective music.Not to be missed by the true lovers of good art-house cinema.Highly recommended!

A beautiful tale full of paradoxes.Imagine a film full of love affairs and not even a single sex scene in it !Well,such is the beauty of this great Hungarian film nicely shot by the legendary Hungarian cameraman Sandor Sara.One must just keep a thing in mind before starting to watch this film.It is not for all tastes.Those who have ample patience in dealing with philosophical tales should only proceed to watch this masterpiece.Zoltan Latinovits is marvelous as the aging Sindbad who aptly shows us that life is best enjoyed only when it is in constant movement.Watch out for a scene involving Sindbad eating numerous mouth watering delicacies.Sindbad is based on numerous short stories by Gyula Krudy.This film is considered to be a major classic of Hungarian Cinema.

Here is a translation of "svaradi@sprynet.com"(I'm sorry but I don't your name). Very nice, lyrical comment; very hard to translate(and maybe not perfect). It is probably due to the fact of Hungarian language's richness.So here it is:

Zelk Zoltan, Krúdy, Huszárik and Latinovits's Szinbad is a film elegy with an odd, volatile atmosphere in lyricism almost surreal. Krúdí(the writer) is identified in the film as Szinbád. He's looking for the meaning of life, eternity on the ship of memories - preoccupied in the beauties of nature, music, nice women, girl's hair, strokes, sensitive walks, tearful hours, grievous farewells. The attracted women offer lasting love, and for that very reason he he proceeds to the upcoming in wonderful colours of life and resignation generative passing, aka death.

Correct me if I'm wrong, but the obvious way to unscramble Szindbad is to think from a socialist perspective. When pre- socialist cultures are depicted in socialist cinema they are meant to look inferior to the society of present day. Szindbad is situated in the 20's Hungary, and shows us the pointless lifestyle of the upper class. Szindbad is a handsome and well- mannered dandy whose position in the society enables him to live his life without working.

As far as socialism is concerned Szindbad is a most extreme example of a bourgeois leach living on the blood of the people. Throughout the film Szindbad struggles to find meaning for his miserable life. He moves from one woman to another as if he was searching for something. Yet he understands the emptiness of his life which can be seen in his cynical attitude towards the women he makes love to. Apparently Szindbad has never loved.

Szindbad is offered to the viewer as an example of the meaninglessness of life before the revolution. After, no one has to be unsure about their place in society. In the end Szindbad understands his life as a movement towards the ideal woman, which can, of course, never exist.

As a film, Szindbad is visually pretentious and slowly paced. I'd like to think that some of it is due to the director reflecting the era and characters in his filmmaking. In any case it is slightly overlong. It is not a bad film, but a difficult viewing for us western viewers, mostly because the cinematic language differs from the (Hollywood) one we are used to.