7.6/10
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14 user 29 critic

Nikutai no mon (1964)

Not Rated | | Drama | 11 December 1964 (USA)
An injured thief on the run finds sanctuary within a brothel of united, ruthless women.

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(novel), (screenplay)
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Cast

Cast overview, first billed only:
...
Shintaro Ibuki
Kôji Wada ...
Abe
Yumiko Nogawa ...
Maya
Tomiko Ishii ...
Oroku
Kayo Matsuo ...
Omino
Kuniko Kawanishi
Misako Tominaga ...
Machiko
Isao Tamagawa ...
Horidome
Chico Roland ...
Black Pastor
Eimei Esumi ...
Sen
Hiroshi Chô
Keisuke Noro ...
Ishii
Mikiko Sakai
Terue Shigemori
Kôji Yashiro
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Storyline

After World War II, some Tokyo prostitutes band together with a strict code: no pimps, attack any street walker who comes into our territory, defend the abandoned building we call home, and punish whomever gives away sex (who falls in love). Maya, a young woman whose family has died, joins the group. Into the mix comes Shin, a thief who's killed a G.I. The women allow him to hide while recovering from wounds, but then he won't leave. Maya is drawn to him, discovering as she falls in love that she can feel again; she's now more fully human, but at the same time, she's endangered herself and her livelihood. Can she and Shin make it out of Tokyo to establish life as a couple? Written by <jhailey@hotmail.com>

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Taglines:

Japanese Girls Who Bartered and Loved See more »

Genres:

Drama

Certificate:

Not Rated | See all certifications »

Parents Guide:

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Details

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Language:

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Release Date:

11 December 1964 (USA)  »

Also Known As:

La puerta de la carne  »

Company Credits

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2.35 : 1
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Did You Know?

Trivia

In an interview Seijun answered the question of the uniqueness of this film in relation to other B/Program pictures he made in the time: "The studio wanted to make a skin flick, that's all. We couldn't make a real porno back then, though." See more »

Goofs

A downward shot pans across a crowd following a stretcher. When straight down, you see the shadow of the camera, crane and the camera operator. See more »

Connections

Referenced in Seto no hanayome: Gate of Flesh (2007) See more »

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User Reviews

Renegade Filmmaking
3 January 2000 | by See all my reviews

Born on May 24, 1923, Seijun Suzuki was a trade school drop-out and a soldier before studying film at Kamakura academy. After graduating in 1948, he was employed at Ofuna Studio as an assistant director. He began his full-fledged directing career at Nikkatsu in 1954, where he subsequently made 40 films. Most of these were quickie crime thrillers which were akin to Hollywood B-movies. Within the constricting confines of the mercenary studio system, Suzuki was nonetheless able to find his own unique creative sensibility.

His earliest films bear a renegade, sensual flair and a vibrant visual style unsurpassed by more recent work in both the West and Asia. Working in Cinemascope, he used the widescreen frame to full effect, composing intricate shots which seem almost three dimensional, due to somewhat elaborate staging and the novel device of using dissolves to show characters and action on the opposite side of the room or space to which the main camera is pointing.

GATE OF FLESH (1964) exemplifies this. One of Suzuki's most atypical films, it tells the tale of a pimp-less group of hellcat prostitutes trying to survive in the chaotic, crime-ridden arena of post-war Tokyo. Living by a strict code, any of their number can be severely physically punished for sleeping with a man for free. Puffy-cheeked Suzuki regular Jo Shishido plays Shintaro Ibuki, a macho renegade former soldier who deals on the black market and comes to lord it over the band of women. Captivating each of them, he causes a rift among them in which the young novice hooker Maya suffers the most, as she is totally enamored of him. The film is intensely visceral, outrageous, and risque, even today. It must have been positively explosive in 1964, with its sweating, erotically-driven characters, fairly explicit depictions of sex, and savage scenes in which naked women are tied up and whipped by other women. The aggressive sensuality is further enhanced by the Fujicolor processing, which accentuates the reds and greens.

Due to his interpid nonconformism, Suzuki was fired from Nikkatsu in 1968. Amid shake-ups and financial problems at the studio, the suits decided to jettison him for making "incomprehensible" films. This prompted a massive movement on his behalf organized by his fans of time, who were mostly college students. With their support, as well as that of the Director's Guild of Japan, Suzuki filed a court case for wrongful dismissal. He won the case, but the resulting furor got him blacklisted out of the studio system, and Suzuki was only able to resume making feature films in 1977, albeit independently.


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