The Sailor Who Fell from Grace with the Sea (1976) User Reviews

The boy is troubled, Cap'n

[paul_johnr · 7/10 · 3 December 2007]

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 4

Roving Reviewer - www.geocities.com/paul_johnr

Film loses its grace at the end.

[gridoon · 6/10 · 6 March 2002]

It's a compelling, morbid film most of the time - but what's up with the ending? It builds up (competently and suspensefully) to a situation that can easily be guessed right from the beginning, and then....it just stops, as if being afraid of going "too far". Perhaps the novel ends the same way, but in this movie it doesn't work - it renders the whole film pointless. The hyped-up erotic scenes are brief and too darkly photographed, but the performances are right on target. (**1/2)

When a sailor falls in love and decides to stay on land, it has violent consequences.

[sk2608 · 7/10 · 17 July 2008]

The movie is indeed an adaptation of a novel by Yukio Mishima. Just to clarify, the novel is not an obscure work. Mishima is amongst Japan's most famous writers and was nominated for the Nobel Prize for Literature three times. Also, the plot of the original Japanese story does not happen in a remote fishing village; it happens in Yokohama, which is one of Japan's largest cities. Lastly, it does not happen in feudal Japan, a fact that would be very evident had someone read the book.

Now that that's been said, I've watched the movie since I very much enjoyed the novel. While I agree with most comments concerning the movie itself, I actually very much enjoyed the ending. Not only would have supplying an ending would have been taking too much liberty, but also it allows the viewer to imagine what would happen. Furthermore, to challenge another commenter, this sort of ending does work in movies and was a common motif of films during this era. Some other notable movies with endings similar to this include Francis Ford Coppola's "The Conversation" and "Parallax View."

Languid like the sea

[Zen Bones · 4 November 1999]

This movie is morbid but is quite faithful to the original story. And it uses its Dover location very effectively in showing a place isolated in its own mythology.

The story is about a fatherless adolescent boy who is himself very much like the sea. He is restless and calm and seemingly untameable. All the confusion and frustrations of adolescence are portrayed here in an honesty that no other movie has ever dared to show. The restless urge to be a grown up and to move on to a life of daring excitement, and the desire to find a philosophy and a poetry to which one can ascribe are all explored in an uncompromising way in this film.

Desperate for an authority and leadership that he can look up to, the boy finds himself vying for the acceptance of a sadistic boy with a Nietzsche complex who uses a strain of hierarchy in his little band of friends in order to maintain control. Soon Kristofferson shows up and as he seems to be the stuff of oceanic legends, the boy finds a new hero to worship.

I would not even attempt to give the ending away. Suffice it to say that this is a most disturbing film in its subject matter and for those with short attention spans, it may seem slow in its pace. But like the sea, the film is languid in its pacing and it promises the same degree of poetry and savagery.

Fascinating viewing!

Waaah - splash!

[ptb-8 · 6/10 · 19 March 2007]

A spooky 'erotic' romantic thriller, with undertones and imagery of both THE INNOCENTS and LORD OF THE FLIES and even RYANS DAUGHTER this film had a bit of a notorious reputation in the late 70s because of the peephole sex scenes and the all too graphic mutilation of the family cat. Plenty of seniors went stampeding from the cinemas gasping especially after the cat got the chop, hissing and howling. The sight of Sarah Miles masturbating gave a us all a kooky preview to WHITE MISCHIEF made ten years later. There has been plenty of criticism about the translation of this Japanese novel into the foggy coast of Dover, but really it does not matter because the almost MOONSPINNERS-like spooky seaside look adds to what is genuinely an usual and compelling romantic drama with deeply strange and uneasy subplot about the wrath of destructive misguided young boys. Kris Kristofferson was every woman's preferred seaman in the 70s! Then Babs snared him in her horrible remake of A STAR IS BORN. SAILOR was a big hit in its day and deserves another look. It is eerie and romantic and quite dangerous. You almost expect Sarah Miles to narrate (all REBECCA-like) "last night I dreamed I went to masturbate...." I saw it on a double with CABARET. Those were the days!

The Land Never Changes, The Sea is Never the Same...

[Coventry · 7/10 · 18 February 2007]

Ever since her husband passed away, the introvert but endearing widow Anne Osborne (Sarah Miles) raises her son Jonathan by herself. Life isn't easy, as Anne feels lonely and clearly needs male affection while her son dangerously gets hooked on the mildly unsettling ideas of a fellow school boy who proclaims to eliminate all adults. When the handsome and charismatic sailor Jim (Kris Kristofferson) arrives in town in his enormously impressive cargo-boat "Belle", Anne finds in him a new lover and Jonathan a new fatherly role model. But when Jim stays to marry Anne, Jonathan feels that he "betrays" the sea and plots a morbid vengeance. I expected a whole lot from "The Sailor Who Fell From Grace With The Sea", actually. The unusual title as well as the oddly designed DVD-cover always appealed to me and, moreover, the story is adapted from the works of controversial Japanese writer Yukio Mishima. This notorious author, who literally shocked the world with his sudden suicide, wrote perverse tales and had an awkward interpretation on human psychology, and thus I was anticipating a slow-brooding melodrama that is disturbing and beautifully enchanting at the same time. Unfortunately the transition to a remote English sea-town setting and its depressed inhabitants isn't totally successful and, despite remaining to be a stylish & well-made film, "The Sailor..." miserably fails in terms of offering genuine shocks and sheer creepiness. Writer/director Lewis John Carlino hints at several controversial themes (like voyeurism, the Oedipus complex and "Lord of the Flies"-esquire ideas) but never really has the courage to translate them on screen. The two main plots, about the romance between the adults and the boys' peculiar descent into mental insanity, never conjunct like they should, resulting in a rather incoherent film that comes across as absurd and highly implausible. Although the DVD-box guarantees chills, the film sadly never becomes disturbing or even remotely frightening. Nonetheless "The Sailor Who Fell From Grace With The Sea" remains a curiously fascinating piece of 70's film-making, as the atmosphere is continuously compelling and the acting performances are convincingly emotional. Especially Sailor Jim's extended speeches about the mysteriously untameable sea are downright staggering. Because of his poetic monologues, the sea itself almost becomes an uncredited extra character and you willingly allow him to take you on imaginative journey around the world. Contrary to these mesmerizing sequences are the rather nasty and gratuitous images of the fascist children's cult relentlessly torturing animals in order to revolt against the grown-up world. The supposedly 'startling' climax filmed on a beautiful hillside location overlooking the sea is painfully disappointing. Not having read the novel, I don't know whether or not it's supposed to end like this, but I found it to be an extremely cowardly finale after building up to it so much.

Graceful Film Loses Grace At The End.

[happipuppi13 · 7/10 · 24 May 2007]

Another rarity from the library,that again,I've never heard of. So naturally I just had to see it. I'll warn those who haven't seen it,to not be taken in too much by the beautiful scenery shown at the beginning. Which makes it seem like this will be a real '70s touching love story with a happy ending.

Now,Kris Kristofferson will more than likely never get a lifetime achievement award from the Academy,or for that matter even a best supporting Oscar. Here in "The Sailor.." (which should have been enough of a title)he's actually effective.

He's not loud and abrasive here,like he was in "A Star Is Born" or "Alice Doesn't Live Here Anymore". His performance,while not overly spectacular is actually very evenly paced and quite thoughtful and even poetic.

I've never heard of the other players in the film but Kris's love interest is quite a bold actress for the scenes of nudity she's given. As for her love scenes with Kristofferson,if the two characters weren't portraying being in love,I'd think less of them being pictured here. Personally,I find them in this context to be quite romantic.

The boy peeping in on his mother and then the couple,is just a young boy satisfying his newborn curiosity. I'm certain the producers weren't going for an "Edipous and his mother" plot. Speaking of the boy,I wondered,"how can he let himself be friends with such a rotten kid"?

How also could he and the others let themselves be bossed around,hit and abused by this kid,who needs at least 20 years of psycho-therapy? It's almost impossible to imagine what could screw a young kid like that up so badly that he hates basically everything and is practically a pint-sized Hitler?

I have to say I was truly disappointed that the boy and his buddies didn't come to their senses and ditch him or take him on all at once or one at a time! Instead they blindly follow his lead to where they end up offing Kristofferson. What an incredible downer! I'm glad they didn't show a scene with the mother realizing her chance at new happiness had been taken away,that would have been too much to take.

Seven stars for the love story,the innocence of the boy before he goes bad,the scenery and even Kristofferson's acting. 3 off for the morbidness that I feel had no place alongside the romantic storyline. Even if it was taken from the book. (END)

Good but far too slow

[preppy-3 · 4/10 · 19 September 2017]

Story based on a classic Japanese novel but relocated to the UK for the movie. Widow Anne Osborne (Sarah Miles) lives in a beautiful ocean side town with teenage son Jonathan (Jonathan Kahn). One day a handsome young sailor (Kris Kristofferson) shows up and Anne falls in love. This causes issues with Jonathan and his band of sociopathic friends.

It's well-directed with beautiful settings, a good script and good acting (especially by Miles) but it has issues. It's way too slowly-paced. It gets dull very quick and no amount of pretty scenery and good acting can liven it up. When you have nude love making and masturbation scenes and it's still dull something is seriously wrong. VERY morbid ending too. Worth a look but the slow pace makes it a chore to watch at times.

Seducing and dark love story

[Mikew3001 · 9/10 · 13 November 2002]

This is a British drama from 1976 about a shy and lonely widow Anne (Sarah Miles) raising up her 13-year-old son in a small English seaside city. When she meets the American sailor Jim (Kris Kristofferson), she falls in love with him and wants to marry him. Her son, being a member of a fascist secret circle led by the charismatic pupil "Chief", doesn't agree with that liaison and uses his radical friends against his possible stepfather...

The German title of this brilliant movie was called "Der Weg allen Fleisches" which means as much as "The way of all flesh". This is a suitable title as love, loneliness, seduction, longings and sex are integral elements of the story.

The director uses surreal scenes to support the emotional side of the movie. There is a beautifully shot sex scenes between Anne and Jim, and an outstanding masturbation scene of Anne in front of a mirror, secretly watched by her son. There are strange dream sequences, spiritual moods of the sea and a cruel scene where the gang's leader rips off a dead cat to present his totalitarian theories to his worshippers by its testicles.

Sarah Miles ("Blow-up", "Venom"), Kris Kristofferson ("Pat Garrett and Billy the Kid", "Convoy") and also the children actors are doing a fine job here. The touching score was written by Johnny Mandel, and Kris Kristofferson added his chilling "Sea Dream Theme". This film is more than just a love drama but an outstanding and forgotten tale about love, sex and death at the seaside with great locations and a very strange ending. Watch it if you get the occasion to do so!

Great at the Time; Doesn't hold up; maybe I've aged

[hawktwo · 7/10 · 22 November 2014]

I was in my twenties when this first came out and thought it was a very emotional and sensuous movie. Playboy did a pictorial layout of the film and since I worked in a drugstore that sold it, I was able to sneak peeks while the manager wasn't watching. Perhaps I was too young to appreciate some of the plots and emotions. I did not understand the jealousy that could be provoked in young children by the introduction of a potential step-parent. I did not understand the emotional and physical needs of the widow. The ending produced a tremendous feeling of sadness which stayed with me. I recently saw it again. Disappointingly it has one of the most erotic scenes edited. The trick of showing time passing by having a picture boat glide across a picture ocean really seems corny. For a better Sarah Miles movie which holds up for its eroticism and story quality, I'd recommend "Ryan's Daughter".

A Dull Story With A Handful Of Worthwhile Scenes

[sddavis63 · 3/10 · 17 July 2011]

Although it has a handful of powerful and disturbing moments, the reality is that for most of its runtime my general reaction to this movie was a sense of wonder that anyone would bother to put out a movie that was so dreadfully boring. There are basically two aspects to the story: first is the lonely widowed mother Anne (played by Sarah Miles) who meets and falls in love with a sailor named Jim who's just arrived in port (Kris Kristofferson), and second is the widow's troubled son Jonathon (Jonathon Osborne) and his reaction to his mother's growing relationship with Jim.

Most of what power there is in the movie comes from the story of Jonathon. The boy has a definite Oedipus complex, regularly spying on his naked mother as she engages in various types of sex play (with Jim and with herself) and he's fallen in with a bad group of kids who've formed a secret society of some type under the leadership of an even more disturbed boy who has a fixation with mutilating animals. There's nothing particularly likable about the boys. They're disturbed - perhaps even evil. The leader of the group (Earl Rhodes) plots to make sure that Jonathon will turn against Jim (perhaps he was afraid that a relationship between the two would lessen his own influence over Jonathon) and succeeds in enlisting Jonathon as part of a horrendous plot to deal with the situation. The story of the relationship between Anne and Jim was less interesting to me. It seemed to come out of nowhere and perhaps for that reason didn't strike me as believable.

There's some humour in the movie (especially the tea room scene!) but overall this is a very dark and twisted story. For the most part I found it uninteresting and unpleasant, although it does lead up to quite a climax in the end. There's a fair amount of nudity involving Sarah Miles, and a few sex scenes (although nothing explicit.) My own opinion, though, was that overall - in spite of a few good scenes - this was dreadfully dull. (3/10)

Disturbing and Atmospheric Drama

[Rathko · 8/10 · 17 October 2007]

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.

Good

[manitobaman81 · 7/10 · 6 September 2014]

The script and direction meld into a strong movie. With charm and humor to spare, this film was among the top echelon of movies from 1976. The characters in this film have a lot of depth, and that makes all the difference. In the end, the audience gets a casserole of film elements and little of the satisfaction that comes from watching these types of movies. I guess if I was in a bad mood, this movie wouldn't be half as good, but I thought it to be enjoyable and would recommend it. This is a story about a place most people might not be able to conceive. It is a powerful film. Many scenes do not feel believable, but good performances help to enhance this story.

The Film that Deserved to Fall into the Sea, and be Forgotten....

[mercuryix2003 · 2/10 · 1 March 2014]

Sarah Miles deserved far, far better than this film. Her performance is head and shoulders above any others in the movie, and this becomes evident 15 minutes into it. Her performance is the only reason I can give this film a rating higher than one star. Kris Kristofferson plays her love interest, in a performance that redefines the words laconic and listless.

Possible Spoilers: Miles plays a lonely widow whose husband who died after a long illness, with a troubled, sullen teen son (naturally). She meets Kris Kristofferson, playing a sailor with no sense that he is one, and instantly drops all of her British reserve to fall in lust with an American stranger who is completely passive and has absolutely no personality. Sarah Miles literally carries every scene between her and Kristofferson on her own shoulders; it's like watching a champion dancer dance with a mannequin, except that you can at least prop up and pose a mannequin. For some bizarre reason, Kristofferson, who underplays every role he has, decided to underplay this performance even more, as if that would give him some sort of quiet American strength. Instead, it gives him a quiet lethargy that puts the energy right through the floor. I have to wonder if Miles actually said to Kristofferson at some point during rehearsals: "Kris, you are going to give me more energy than that during the take, aren't you?" If the director actually said to Kristofferson "less energy, be more subtle", that was the Wrong direction for Kristofferson. It's like saying to Robin Williams "Robin! Be more manic, and much higher energy!" Naturally, the woman's son resents the hell out of Kristofferson, and like most movie children of single mothers, is under the influence of the worst element he can find, a hateful little psychopath that likes blowing seagulls' heads off with firecrackers, mutilating cats, etc, without adults around them ever noticing. Without a strong father figure around, the movie argues, male children will immediately fall into gangs or worse.

The end of the movie is out of a Stephen King novel, and does not fit in with the rest of the story at all. There seems to be no moral or statement to the film that I could find. In fact, it seems to go out of its way to avoid one. If you had to find a "moral" in it, it would seem to be, stay in the Navy and never retire, or you will deserve to be cut into tiny pieces in short order, as your just punishment. Why? I have no idea. I guess the sea is a jealous mistress. Like, Fatal Attraction jealous.

Which is especially odd, as there are No Sea Metaphors or allusions to the sea in this film!

(This IS adapted from a Japanese story by a famous but rather disturbed author, who committed suicide as a protest against modern society, but even in terms of the Samuri tradition, the film makes no coherent statement; even one that we could disagree with.) The film left me with a feeling that I had been subjected to three levels of abuse: one, a slow-moving (and I mean, Slow-Moving) morality tale with no moral at the end, two, Kris Kristofferson's energy-sucking performance that seemed to suck the vitality out of me as I watched it, and lastly, the abuse of Sarah Miles, who gave an Oscar-worthy performance in a film that was not worthy of her, and gave her no energy to work with; which means her work was twice-heroic. If she was not in this film, no-one would remember it on any level; and out of respect for her, no-one should.

Haunting and Unforgettable

[lazarillo · 9 January 2005]

This is a very chilling movie based on an even more chilling novel. It does seem to be a cross between "Oedipus Rex" and "Lord of the Flies" as some reviewers have astutely pointed out, but it is actually based on an obscure Japanese novella. The original story had a Japanes protagonist and was set in a Japanese fishing village. The filmmakers don't entirely succeed in transplanting the action to rural England and casting a Kris Kristoferson in the lead role, but an international film never could have gotten made at the time with a Japanese lead, and once they cast Kristoferson, setting the movie in a Japanese fishing village would have drawn the inevitable charges of racism from the perpetually outraged idiots in the "PC" crowd.

Besides the awkwardness of the adaptation is redeemed by some great acting. This is probably Kristoferson's second best role after "Pat Garret and Billy the Kid". Sarah Miles is also very good as the lonely widow. Her sex scenes with Kristoferson are very erotic if very perverse (you see them only through a peephole as her disturbed son watches). The British child actors are also very good for a change, particularly the very disturbed but nevertheless sympathetic son and the truly psychopathic leader of the gang of schoolboys he runs with (who make the "Children of the Damned" look cute and cuddly by comparison). The scene where the gang eviscerates a live cat is almost unbearable to watch. And the final scene on a hill overlooking the sea is chilling, tragic, fatalistic, beautiful, and mythic all at once. This is and haunting and unforgettable movie.

Steamy but Lethargic

[kenjha · 6/10 · 22 March 2011]

A lonely British widow living in a seaside town strikes up a romance with an American sailor, much to the disapproval of her son. The pacing of the film is rather lethargic, as there is more emphasis on atmosphere and characters than plot. Unfortunately, the characters are not very interesting. The film also loses points for an unpleasant and unnecessary scene where a cat is dissected. Miles is alluring as the sexually frustrated widow and mother of a troubled, teen-aged son. Kristofferson is the studly sailor of the title. The film is probably better known for a steamy Playboy pictorial featuring the two stars that effectively ended Kristofferson's marriage to Rita Coolidge.

"He's betrayed Number Five completely, and himself as well."

[classicsoncall · 7/10 · 30 April 2024]

I saw this film so many years ago, probably around the time it came out, and I've thought about it off and on ever since. Having been so much younger and inexperienced back then, I thought the scenes of sexual lovemaking and masturbation were unusually explicit and shocking to be seen on screen. The tearoom scene with Anne Osborne (Sarah Miles) and Jim Cameron (Kris Kristofferson) was a step beyond even Meg Ryan's humorous outburst in "When Harry Met Sally". But the thing I remembered best and was most affected by was the dispassionate murder of Kris Kristofferson's character at the end of the story. Particularly when it seemed like young Jonathan (Jonathan Kahn) was seemingly becoming friends with his mother's lover. However, the influence of the sociopathic leader (Earl Rhodes) of Jonathan's school age cohort was too strong and demanding to challenge, except for the single instance when Jonathan got into a scrap with him at school. The 'Chief's' penchant to dissect and take things apart to determine their true nature is given questionable support in that scene involving a cat, disturbing enough by itself to cause squeamish viewers to abandon the film altogether by that point. Taken to its extreme, all five boys eagerly took to participating in the final act that would purge Jim Cameron's presence from their seaside community. The feeling that the film leaves one with is that of conflict and horror at the senseless murder, and if one takes it to the next level, imagining what might have happened when the seaman's disappearance was discovered, especially as it related to the relationship between Jonathan and his mother.

In praise of Sarah Miles

[gregorycanfield · 6/10 · 4 June 2023]

Sarah Miles is the only notable component to this movie. It is only her presence that makes the movie worth watching. The nude love scenes were, no doubt, controversial back in 1976. The story, in general, doesn't make clear why these love scenes needed to be so explicit. Perhaps, to inject some visual energy into a movie which is, otherwise, kind of dull. I didn't mind watching Sarah with her clothes off, but I also enjoyed watching her when she was fully dressed. She looked nice, and her performance was better than the movie itself. One major liability was the unappealing, ineffectual actor who played Miles' son. There was too much focus on her son and his circle of weird friends. Kris Kristofferson is pretty generic in the role of the "sailor." Despite the so-called "passionate" love scenes, I sensed no chemistry between him and Sarah Miles. It boils down to personal taste, and this movie is not entirely to my taste. Again, I must praise Sarah Miles. Her performance was good. She looked good (with or without her clothes). If not for Sarah, the movie would have been a complete flop.

Not my cup of tea

[Elewis1195 · 4/10 · 10 September 2016]

First, this film is slow. They don't make movies like this anymore but if you like slow story telling, you might like it. I didn't. (SPOILER), this move doesn't have a happy ending and that's what I really didn't like about it. I like happy endings. I just do. Still, even though I saw this in my teens, and I watched it cause I caught a clip with nudity, I was a little curious and I stuck with it and it stuck with me, enough for me to write this bad review 20 years later.

Some of the boys are mean, and while that might be accurate for boys at school (in fact, I know it is), it seemed a bit over the top to me. More cruel than necessary. Beyond that, the ending was unpleasant.

It's strange to me to read all the positive reviews of this. I didn't enjoy it, nor did I find the "artistic" side of it made up for the unpleasantness or the slow pace. Others are welcome to disagree, but this isn't a film I'd recommend.

Should be considered a classic

[bodnarhd · 8/10 · 8 April 2006]

I really enjoyed this movie back when it came out in 1976. It never showed up at the major theaters though. I saw it in one of the Dollar theaters. How it got away with an R rating back then I will never know. I had seen x-rated movies that had showed less. And the love scenes were a spread in Playboy. My girlfriend said is was because it had a plot. I do remember she was in a state of shock when we left. She was an 18 year old Southern Bapist Sunday School teacher at the time. Kris Kristofferson was never highly rated as an Actor but I think he did an excellent job in this movie. The child actors were completely believable. It was written by a Japanese gentleman and I am amazed at how well some examples of Japanese literature and movies translate to the US. The Magificent Seven ( AKA the Seven Samarai) and " A fistful of Dollars".

If you can find it on DVD I would highly recommend it.

saaddhafeeri

[saaddhafeeri · 6/10 · 19 April 2021]

Jonathan Osborne, the 14-year-old son of widow Anne Osborne, has become involved with a group of boys led by a neo-Nietzschean sadistic boy named "Chief". Anne daydreams about her husband who died three years earlier. When a large merchant ship anchors temporarily in the harbour, Anne arranges to give her son a tour of the vessel. They meet the second officer of the ship, Jim Cameron. Jim takes a liking to both the boy and his mother. Jim and Anne become involved sexually, which throws Jonathan into a rage of jealousy. Cameron returns to sea and while he is gone, Jonathan reveals his jealous sentiment to the group leader, Chief. When Cameron comes back to renew his relationship with Anne and forsake his life on the sea, Chief and the boys concoct a sinister plot to do away with the intruder.

Too slow, morbid

[Scoopy · 1/10 · 4 November 1998]

The movie is an adaptation of a Japanese story by the respected author Yukio Mishima. It simply doesn't make the transition into a credible story about Brits and Americans.

The story moves sluggishly, especially the part where Miles and Kristofferson are separated and the director fills in with the cliched shots of a ship's prow cutting through the waves, and the little route line filling in on the maps, while their letters are heard in overvoice. The film moves so languidly that I even fast-forwarded through the sex and masturbation scenes which, although long, are not really either passionate or erotic. The film did achieve a measure of notoriety when Kristofferson's then-wife divorced him for extra-curricular activities with Miss Miles during the filming. I guess they enjoyed the sex scenes, but it isn't quite the same for a viewer.

There are no characters to hang on to. The sexually frustrated widow is unlikeable, the little kid is detestable. Kristofferson is amiable enough, but he just doesn't have the acting skills to bring much to the role, although perhaps we don't really want get too involved with him, considering his ultimate fate.

As for the little kid, well, he kinda falls in with a bad crowd after his dad dies, and they help him plot some evil against the man who enters his mum's life. Now this is a really bad crowd. They don't just shoplift and smoke dope, nosireebib. They slip a mickey to a cat and vivisect it. This is shown in gory detail. But of course, this is only practice so they can do the same thing to Kristofferson!

So the movie mostly moves slowly, with no characters to relate to, and when something does happen it is unrelentingly morbid.

The ending is about as unsatisfying as any movie you'll ever see.

This all might have made some sense if the Japanese locale and cultural context had been retained. As it stands, it is just abysmal.

missed the point

[scrumpypete · 8/10 · 10 July 2019]

While the story does translate itself into a movie to a certain extent, it misses a very important point that is made in the book. Yes, we have the tension and the undercurrent of horror in the film, but being made into an English story and background, it is emasculated. Bear in mind that (and I speak with a Western generalisation, here) Japanese people are more likely to engage in group activities, and are more regimented than British. There is a structure and a 'wholeness' about nature and the order of things, and that idea of order and subservience is more pronounced - and indeed revered - in Japan. But the overall point which could not be made within an English adaptation, is that the death penalty for murder in Japan is not enacted upon children under the age of 13. What is particularly devilish about the concept is that the boys knowingly and willingly plan the murder without any fear of punishment.

Child story made for adults, warned audiences.

[searchanddestroy-1 · 7/10 · 27 June 2022]

This movie belongs to the features showing children from the evil side, as Jack Clayton did with his INNOCENTS, disturbing, bizarre, and certainly not destined to young audiences; to make it clearer, a film speaking of a child and for adults only. But unlike THE INNOCENTS, this film is not a horror movie, only some kind of unidentified filmed object, hard to put in a category. It's worth watching though, not uninteresting, because showing things rather unusual on screen, miles away from the Hollywood style. But disturbing, yes. Don't miss the sea gull scene, children's cruelty.

Not so much an Oedipus Rex as it is a derivation on "The Lord Of The Flies"

[moonspinner55 · 2/10 · 7 July 2001]

Distasteful British film from a Japanese novel about a very troubled young man who comes under the influence of a Hitler-like classmate and plots to harm his widowed mother's lover. A couple of good scenes (Sarah Miles discovering her son has been peeping at her and confronts him in anger, the pasty-faced lad trying to ensnare Kris Kristofferson to his demise by being extra friendly), but what's the point beyond provoking shock? Ugly and uneasy, it doesn't showcase anyone involved to any advantage (especially Kristofferson, whose hollow stares and usual gravelly talk is out-of-place in a psychological mishmash like this one). Coldly without any sense of its own absurdity, director Lewis John Carlino seems to believe a circumstance like this could actually happen. If he's right, that's far more shocking than anything in "Sailor". * from ****