7.6/10
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Nikutai no mon (1964)

Not Rated | | Drama | 11 December 1964 (USA)
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... See full summary »

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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>

Plot Summary | Add Synopsis

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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Release Date:

11 December 1964 (USA)  »

Also Known As:

La puerta de la carne  »

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2.35 : 1
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Did You Know?

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

Remade as Nikutai no mon (1977) See more »

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User Reviews

 
in the rubble of civilization
22 November 2010 | by (United States) – See all my reviews

Seijun Suzuki's wide screen portrait of post-war Tokyo shows a ruined city reverted back to a primitive state of barbarity, where the only law among the society of pimps, thieves and prostitutes is Survival of the Fittest. Be forewarned: although it may be tame by today's permissive standards the film is still overtly violent, in both content and style. The garish color scheme alone is often more shocking than the animal philosophy of the gang of hookers, whose punishment for compassion among their ranks is an enthusiastic whipping. Suzuki never was the most subtle filmmaker, and the crass, uncensored vitality displayed here approaches low exploitation even while it probes with subtle insight the psychology of a vanquished nation.


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