Hellen I like the storyline of this show,it attract me so much

SanEat A film with more than the usual spoiler issues. Talking about it in any detail feels akin to handing you a gift-wrapped present and saying, "I hope you like it -- It's a thriller about a diabolical secret experiment."

KnotStronger This is a must-see and one of the best documentaries - and films - of this year.

Lollivan It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

lost-in-limbo The first thing that drew me in was the strikingly illustrated movie poster artwork… but how many times have you ended up disappointed after admiring the cover artwork --- too many times. Secondly the plot's outline while you might call it nothing out of the ordinary, it just seemed to be enticingly worded. Who knows maybe I'm a sucker for these types of films. However what eventuated wasn't what I was expecting. It's an unusual, unhinged and morose drama (a dark tale of love and acceptance) with very an intrusive sexual charge and a considerably perverse edge. I was surprised how sadistic some sequences were and they weren't explicit, but still they managed to be disturbing in its confronting nature. It can be beautiful and brooding, but also unsettling and then fairly vicious. When it boils down to its final shot, it's got to be one of the most haunting sequences. English widow Anne Osborne lives near the sea with her son Jonathan. In her loneliness she still longs for her dead husband, but also is having trouble with Jonathan who's caught up in a small group that's led by a precociously cruel boy. Things seem to change when an American sailor appears on the scene. A relationship blossoms between Anne and the sailor Jim, while Jonathan begins to look up to him in a heroic seaman sense. Soon he's ship pulls out, but the passion Jim has for Anne is too much that he comes back to her. But Jonathan doesn't like where this is heading, because he sees him as a sailor that belongs to the sea and he'll only disrupt the perfect order that he has with his mother. The screenplay was adapted off a Japanese novel, but director/writer Lewis John Carlino does a good job of executing the philosophy of its subversive context and changing the culture/location. There's an unflinching reality of young vexing adolescences wanting to grow up fast, sick of the rules and moralities that adults force upon them. The mythology of the sea is handsomely materialized in the dialogues and the stunningly remote imagery of Dartmouth etching out a poetic twist of fate. The unpredictable way of the ocean can be seen somewhat as a metaphor for the inner-workings of the entire characters -- namely the three leads (Jonathan, Anne and Jim) and how they interact with each other. The performances are picture perfect. Jonathan Khan gives a compellingly collected turn, but underneath that façade hides something much more formidable as if he doesn't seem all there. Sarah Miles is sensually appealing with a real sincerity from her aching, but lovelorn character… it's quite an hypnotic performance of oozing infatuation and Kris Kristofferson's weathered presence is simply right for the part. Outside the three main performances, Earl Rhodes is immensely dominating as Chief -- or number one the leader of the secret group that's Jonathan is in. The group really bows down to Chief, as he's the influential figure. It's his character that instruments a lot of the mean-spirited acts --- and those sensitive to animal violence should be warned. It can be cruel, but also there's a voyeuristic angle which has Miles taking off her clothing and even masturbating… while her son watches through a peephole. He also does this when she beds the sailor Jim in some steamy sex scenes -- and when finally caught and abused by his mother it could be seen as the turning point and Jim has been tainted. Carlino polished direction and relax pacing concentrates on the atmospheric visuals of the fetching seaside locations (which emits some Gothic brushes namely in the house-stead) and the underlining danger amongst its melancholy air. The soothingly scenic cinematography, along with the elegantly moody music score blend well together in the always changing face. You really do sense the ocean, with the sound of the waves and the seagulls above in the sea air. The most infamous thing (and probably more so than the film) surrounding this feature would most likely be the bold photo shoots/piece that Kris Kristofferson and Sarah Miles did for Playboy to promote the film."The Sailor Who Fell from Grace with the Sea" is an interesting curiosity. The tone of the film kind of reminded of the excellent drama / thriller "The Little Girl Who Lives Down the Lane", which also came out the same year.

paul_johnr Compared to other projects like 'The Great Santini' and 'The Mechanic,' this 1976 drama was a bold endeavor for writer-director Lewis John Carlino. 'The Sailor Who Fell from Grace with the Sea' is Carlino's adaptation of a novella set in post-World War II Japan by Yukio Mishima, a prolific 20th century author who tried to revive the Bushido code of samurai honor and committed ritual suicide in 1970. Mishima was a grand literary force, considered several times for the Nobel Prize and was lauded as the 'Japanese Hemingway' by Life Magazine. Indeed, it says a great deal about his writings that Carlino was able to transport the novella's ideas to a modern English setting.'Sailor' focuses on Anne Osborne, a lonely widow and antiques dealer played by Sarah Miles. The middle-aged woman lives with her sea-loving, teenaged son Jonathan (Jonathan Kahn) in an English coastal town. Well into the rebellious phase of life, Jonathan finds himself without an adult male influence and backs a schoolmate known only as Chief (Earl Rhodes), who runs a secret club with four other boys as his underlings. This club is not the usual fun-and-games of children, however; Chief is the precocious son of a town surgeon and looks to teach the four members his nihilistic points of view (morality, for instance, is just rules that adults invented to control the world). So dedicated is the boy to his values that he even autopsies the family cat to prove an idea about existence.Providing Jonathan with another outlet is Jim Cameron (Kris Kristofferson), an American sailor who arrives into port and has a change meeting with Anne. The two fall in love almost immediately and Jonathan discovers a man who fits Chief's description of 'a heart of steel' - a man who travels the Earth and overcomes great odds. However, Jonathan feels betrayal as the love affair between Anne and Jim thickens; his hero decides to stay in England and remain tied to the soil. It's only Jonathan and his friends who can restore Jim's 'grace' with the sea from which he came, leading to one of the most outrageous conclusions in film history.As a person who has seen numerous films and read quite a few novels, 'The Sailor Who Fell from Grace with the Sea' was a very strange experience. The film doesn't fit any one particular genre, nor does it really generate one clear emotion. The love story between Anne and Jim functions as an obvious work of erotica, while the dark portrayal of adolescence reminds me of writers like Aldous Huxley and Patrick McCabe. The story's meaning is intentionally unclear, although it seems to imply that each person is given a specific destiny and that the feelings of children, by necessity, are of equal value to those of adults. There is also a certain sexual philosophy judging passion as the destroyer of good things, in this case the strong bond between Jonathan and his mother.One of Sailor's technical strongpoints is its broad, languid pacing that has a feel similar to waves of the sea. Cinematographer Douglas Slocombe offers breathtaking images of ocean, sunrise, and house interiors that compare with still-life paintings. Adding to the rich visuals is a lean, chilly score by Johnny Mandel (with themes by Kristofferson) that captures the film's underlying ideas. The entire cast is superb, especially the children headed by Jonathan Kahn (who had a brief screen career). Sarah Miles conveys a wide range of emotion and has a physical elegance that is ideal for her role. Kristofferson was an excellent choice for the Jim Cameron figure, a rugged, brooding individual whose tales of sea life feel authentic. Of vital importance is the chemistry between Miles and Kristofferson, which must be strong for the film to work. Unlike inferior films that produce a cardboard love affair, Anne and Jim's rapport is solid and nothing less than convincing.Anyone who is put off by graphic sexuality or cruelty to animals will best avoid this film. Miles and Kristofferson are involved in two explicit sex scenes, with Kahn watching through a peephole to sate his teenaged curiosity. Miles is also viewed masturbating at her dressing table, but all of this material was filmed with great sensitivity. The cat 'experiment' is highly unpleasant, although not exceptionally graphic, and Chief blasts apart an overhead seagull by tossing a firework stuffed inside pieces of bread. The end credits mention that no real animals were harmed in the film, a rare disclaimer in the 1970s.'Sailor' deserves good DVD treatment for its photography alone, if not for its fine acting. Image Entertainment has come through with a 2003 disc that presents the film with respect, undoing years of mistreatment by TV broadcasts and full-frame VHS tapes. The film is presented in widescreen with immaculate visuals and Dolby enhancement of the original mono track. Unfortunately, there are no extras, with chapter stops offered as the lone feature. Another minus is its auto-play of the film when loaded into a DVD machine, which is inconvenient if you need a few moments to settle in. But for admirers of this film, IE's new disc restores the vibrant imagery seen in cinemas thirty years ago. Moving, shocking, and at times repugnant, 'Sailor' is one of the most bizarre film experiences you will ever have.*** out of 4Roving Reviewer - www.geocities.com/paul_johnr

Rathko An unforgettable and profoundly disturbing story centered on a widow, Anne, and her only son, Jonathan, in a remote English seaside town. Jonathan belongs to a gang led by a precociously intelligent sociopath known only as Chief, who through sheer force of will and intellect, indoctrinates them with a quasi-Neitzchean philosophy of ultimate superiority and the non-existence of morality. When Kris Kristofferson's Captain Jim arrives in town, and strikes up a passionate relationship with the lonely Anne, Jonathan sees him as a heroic masculine prototype, removed from society and living a 'true' life on the open sea. But when the Captain decides to settle down and marry Anne, Jonathan takes it as an ultimate and unforgivable betrayal, and exacts a terrible revenge.Based on the 1963 Mishima novel, "The Sailor Who Fell From Grace With The Sea" hints at many themes, from Jonathan's Oedipal obsession with spying on his mother's bedroom to his physical admiration of the Captain that verges on latent homosexuality. The atmosphere, masterfully created by veteran cinematographer Douglas Slocombe, is one of darkly brooding clouds, gray seas, and an air that constantly threatens rain. The (in)famous sex scenes are really not that explicit, and the casual violence exhibited by the children is far more shocking than any glimpse of breast or buttock.The film, for all its brilliantly evocative atmosphere, excellent performances, and quietly brooding menace, is not without its flaws. The score is terrible, all mawkish piano and sickly clarinet. It is often overly intrusive and distracts from the overall sense of ripe stillness that director Carlino conjures throughout the film. But in general, the film is a remarkable experience, and one that any viewer is unlikely to forget quickly.

tparsons131 Every time you make a movie based on a foreign novel something goes terribly wrong. I saw this movie when I was a kid while watching TV on a Saturday afternoon. I have to say that it is by far one of the creepiest movies I have ever seen. If this movie were set in a Japanese fishing village instead of an English one then I wouldn't have been so freaked out. I mean, I expect people from a different culture to behave differently than I do. The interaction between children and adults is different, etc. This movie is most disturbing because no one acts like you would expect them to. They are all bizarre. This movie will definitely make your skin crawl. We got a kid spying on his mom humping, freaky arian friends that like to murder and dissect animals, and then the jaw dropping ending.You could achieve a similar effect if you made a movie about a family in Iraq that doesn't like the fact that a daughter dates someone without permission. So the father and the brothers kill her. In a foreign context like that we might find the story disturbing but not totally creepy.Now make it a white American family living in the suburbs. Throw in a lot of neighbors who all think the same way and condone the ritual murder. Talk about creepy. You finally just scratch your head and say, where are these people from, mars?