Poster of the Week

by robbiefreeling
July 15, 2011 9:13 AM
2 Comments
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The Sailor Who Fell from Grace with the Sea, a.k.a. Kris Kristofferson's Enormous Gumby Legs. Those shadow-puppet hands and their disproportionately large digits, those centaur-like calves, that stern Zeus-ish expression: though ostensibly a dreamlike romance (my best guess from the not-subtle "their love will arouse you" promise at the top) with Yellow Submarine overtones, the film could be mistaken for a horror experiment, based on the nightmare-inducing curves of this monstrous pastel one-sheet. Perhaps the best clue comes from the even-creepier-than-those-of-Psycho demands listed in dangerous red at the bottom: "Like the act of love, this film must be experienced from beginning to end. Therefore, no one will be admitted after the film starts." Does this mean that one won't be sufficiently aroused if he or she misses the better-be-boner-ific opening scenes, and that, more philosophically, one shouldn't be allowed entry midway into an orgy?

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2 Comments

  • Theodore Roosevelt | July 18, 2011 5:18 AMReply

    Nasty little film. Good shit if you're watching it with your wife and your wife's big-titted best friend.

  • Cameron | July 16, 2011 11:40 AMReply

    Not sure if this will spoil the fun of speculation, but this is based on a Mishima novel of the same name. If you know Mishima, you know that sex is usually tempered with its fair share of violence and psychosis.

    The relatively spoiler free wikipedia synopsis: The novel chronicles the story of Ryuji, a sailor with vague notions of a special honor awaiting him at sea. He meets a woman called Fusako with whom he falls deeply in love, and he ultimately decides to marry her. Fusako's 13-year-old son, Noboru, is in a band of savage boys who believe in "objectivity", rejecting the adult world as illusory, hypocritical and sentimental.

    As Ryuji begins to draw close to Fusako, a woman of the shore, he is eventually torn away from the dreams he's pursued his entire life. Fusako's son, Noboru, who shares an especially close bond with his mother through a voyeuristic ritual, hates the idea of losing his mother to a man who has let his hope and freedom die. This anger and fear of loneliness translates into terrible, savage acts performed by Noboru and the gang of which he is a part.