La porte de l'enfer

A samurai falls in love with a woman whose life he saves. He is offered a reward for his bravery, and he asks if he can be married to that woman. Unfortunately, she is already married and the samurai's request cannot be fulfilled. He is steadfast in his desire, and tries forcibly to take her from her husband. The elements of many cheap thrillers exist in that scenario. Gate of Hell doesn't do too much to distinguish itself, although it's certainly not a thriller. Basically, the whole film is an excuse for its admittedly great climactic sequence, where the samurai invades the home of the woman and her husband at night. I really like how this sequence ends, but there are some questions left unanswered - annoyingly so. The husband even asks them aloud, and there really isn't a satisfactory explanation. Other than that sequence, most of the rest of the film is kind of tedious. Fortunately, the absolutely beautiful cinematography - was this Japan's first film in color? - always manages to be impressive. The costume design actually won an Academy Award, a much deserved one, if I may say so myself. It also won an honorary Oscar for Best Foreign Film, the year before that category was made official. Furthermore, it was the first Japanese film to win the Palme D'Or at Cannes. 7/10.

Female impersonator and actor turned film director, Teinosuke Kinugasa began in the silent era and made more than 120 films with Jigokumon aka: Gate of Hell being is his best known in the west. Based upon a play, it indeed appears rather theatrical to a modern viewer and, to me, seemed more like the sub plot of a Shakespearean play rather than a stand alone tale. Beginning as a period battle epic this soon becomes a simple drama of unrequited love, mistaken identity and personal tragedy. It looks fantastic and particularly bearing in mind this was made in the early 50s the colours and staging are most impressive. I would have liked at least a glimpse of the castle but we have to make do with the titular gate and the admitedly glorious costumes.

In Gate of Hell, a samurai is rewarded for his courage with anything he desires, but what he desires is the wife of another samurai.

Gate of Hell was one of the most popular Japanese imports of the 1954-55 American film season and winner of two Academy Awards and the Cannes Grand Prize. I first saw it as a teenager and was captivated by its gorgeous color and beautiful cinematography.

According to Jasper Sharp of Japan Cult Cinema, "Still today the film looks as stunning as ever, with its opening battle scenes partially shrouded behind billowing veils and banners, and the majestic flight of the troops from the burning imperial palace providing some of the most remarkable images, as well such memorable set pieces as a horse race and Moritoh's tense night time confrontation with Wataru and Kesa at the film's climax".

Appearing around the same time Akira Kurosawa's Rashomon (1950), Kimisaburo Yoshimura's The Tale of Genji (Genji Monogatari, 1952), and Kenji Mizoguchi's Ugetsu (Ugetsu Monogatari, 1953), Kinugasa's film is part of what is often termed The Golden Age of Japanese Cinema.

Adapted from a play by the twentieth century writer Kan Kikuchi, based on a story from the Heian period (794-1185) - the same era in which Rashomon and The Tale of Genji are set - Kinugasa's film opens in the midst of the spectacular battle of the Heiji War.

A revolt against the Emperor has been put down and Moritoh (Kasuo Hasegawa), a brave warrior is granted any wish he desires. Moritoh asks for the hand of Kesa (Machiko Kyo) but this request proves impossible to grant, since Lady Kesa is already married to Wataru (Isao Yamagata). Moritoh refuses to take no for an answer and becomes obsessed with obtaining Kesa as his wife, even if it means threatening the life of her husband to achieve his ends.

This film held my interest but I found the plot predictable and the acting exaggerated (Moritoh looks more ridiculous than frightening). According to Sharp, "Kinugasa himself was fully aware of his picture's dramatic weaknesses, and blamed intervention from his producer, an under-developed script, and a rushed working schedule due to a release date fixed in advance".

Perhaps this could have been a truly great film, but, to me, it is simply a very good film that falls short.

Supposedly the first Japanese film shown in the US after the war, this film was highly regarded by many critics and won a well-deserved Oscar for costume design.

It starts out as a war movie, but that is only a backdrop to what is really going to happen. In an uprising, Lady Kesa (Machiko Kyô) pretends to be royalty to fake out the rebels and allow the real queen to escape. She ends up in the home of Sir Moritoh (Kazuo Hasegawa) and is there until the rebellion is crushed.

Sir Moritoh asks for her hand as a reward for his service, but finds out she is married to Wataru (Isao Yamagata), the head of the palace guards.

This is the real story: a fool in love with another man's wife who will not give up his pursuit. I imagine that a lot of us can see ourselves in Moritoh. Cue Elvis, the King, singing "Fools Fall in Love." Lady Kesa is forced in the end to don disguise once again to save her love in this tragic tale.

Not only were the costumes beautiful, but the cinematography was outstanding also.

I saw this film in 1970 or 1971 in New York and have remembered it ever since. We came in late to a double feature and didn't see the title--I have been unsure of it all these years. It features impressive battle scenes, a heart-wrenching love story and beautiful cinematography. It is also the first film I ever saw that depicted medieval Japanese culture in all its glory. The beautifully photographed compound of the shogun is, by itself, worth the price of admission. There are many interior shots, showing beautiful rooms with sliding screens that figure in the plot. Now I would dearly love to see Gate of Hell again, but apparently it is not available on DVD. Criterion, here is a worthy quest for you!!