IMDb > Gate of Flesh (1964)

Gate of Flesh (1964) More at IMDbPro »Nikutai no mon (original title)


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Release Date:
11 December 1964 (USA) See more »
Genre:
Plot:
After World War II, some Tokyo prostitutes band together with a strict code: no pimps, attack any street walker who comes into our territory... See more » | Add synopsis »
User Reviews:
Renegade Filmmaking See more (14 total) »

Cast

  (in credits order)

Directed by
Seijun Suzuki 
 
Writing credits
(in alphabetical order)
Taijirô Tamura  novel
Goro Tanada 

Produced by
Kaneo Iwai .... producer
 
Original Music by
Naozumi Yamamoto 
 
Cinematography by
Shigeyoshi Mine 
 
Film Editing by
Akira Suzuki 
 
Production Design by
Takeo Kimura 
 
Art Direction by
Takeo Kimura 
 
Production Management
Yoshiaki Yabuuchi .... executive in charge of production
 
Second Unit Director or Assistant Director
Masami Kuzû .... assistant director
 
Sound Department
Tsugio Yonezu .... sound
 
Camera and Electrical Department
Aizô Kôno .... gaffer
 
Editorial Department
Masaru Mori .... colorist
 

Production CompaniesDistributors

Additional Details

Also Known As:
"Nikutai no mon" - Japan (original title)
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Runtime:
90 min
Country:
Language:
Color:
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Certification:
France:-12 | UK:18 (video rating) (2000) | UK:R (1968) | USA:Not Rated
Company:

Did You Know?

Goofs:
Crew or equipment visible: 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 »
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24 out of 24 people found the following review useful.
Renegade Filmmaking, 3 January 2000
Author: Kirill Galetski (kirill@sptimes.ru) from St. Petersburg, Russia

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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