La porta dell'inferno

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.

During WW II there were no Japanese films ever shown in the United States and this

was the first film presented to the American Public in 1954. It is outstanding in its color presentation of the country of Japan and the photography and character studies received great awards and acknowledgment The story involves a married woman, Machiko Kyo, (Lady Kesa), who is a very beautiful lady who is desired and lusted after by another man. This man does not care about her being married and will stop at nothing to get what he wants. However, there is more to the story, and it depicts conditions in Japanese households and their way of living and thinking. Machiko Kyo appeared in "The Teahouse of the August Moon",'56 and starred with Marlon Brando. This is a worthwhile film to watch and enjoy. A truly great Classic Film.

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.

It has been over 40 years (!) since I first saw this film, and I still see it, whenever I can. In my opinion, not only is it a masterpiece, but its use of colour may well be the the best of any film ever made.

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.