La porte de l'enfer

'Gate of Hell' is a story about loyalties. All those who transgress their loyalties, and are beaten or unmasked, are sent to 'Hell' through its 'Gate'. In this movie, the loyalty operates at the social (clan) as well as at the personal level. Rival subjects of the emperor break loyalties by fighting each other for a privileged position at the court. On the other hand, unrestrained passion and sexual harassment of wives of other clan members are also considered as an unacceptable conduct. One of the participants of the yearly 'ceremony of conciliation' among the clans is simply thrown out of the ceremony for his aggressive behavior. Finally, there is also the loyalty of a wife to her husband.

Teinosuke Kinugasa's movie shines through its magical mix of color and light, with dark scenes for unrestrained passion and light ones for beauty and self-sacrifice: every frame of every shot is simply a formidable Japanese print. It shines also through the masterful directing and the restraint acting of its main female character. Ultimately, it shines through its treatment of such almighty important themes as the battle between 'good and evil' / 'war and peace' resulting in 'life or death' for its protagonists.

While Carl Theodor Dreyer's 'The Passion of Joan of Arc' was a pioneering feature film because of its camera movements and bold focalizing, while Dziga Vertov's 'Man with a Movie Camera' was a pioneering movie because of its brilliant shooting angles, its split screens and its rhythmic 'one by one frame' editing, Teinosuke Kinugasa's 'Gate of Hell' is a pioneering movie because of his magnificent play with light and color, turning it into a grandiose spectacle. He shot an eternal masterpiece. A must see.

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.

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!!

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.

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.