Product Details

• Actors: Kazuo Hasegawa, Machiko Kyô, Isao Yamagata, Yataro Kurokawa, Kôtarô Bandô
• Directors: Teinosuke Kinugasa
• Format: Color, NTSC
• Language: Japanese
• Subtitles: English
• Rating: NR (Not Rated)
• Number of tapes: 1
• Studio: Homevision
• VHS Release Date: June 6, 2000
• Run Time: 86 minutes
• Average Customer Review: 4.0 out of 5 stars See all reviews (10 customer reviews)
• ASIN: 6303073093
• Amazon.com Sales Rank: #7,647 in Video (See Bestsellers in Video)

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Customer Reviews

Most Helpful Customer Reviews

10 of 10 people found the following review helpful:

4.0 out of 5 stars A Tragic Obsession in 12th-Century Japan, November 30, 2003

By	M. Hart "Sci-Fi Fan" (USA) - See all my reviews (TOP 500 REVIEWER)    (REAL NAME)

In 1953, Teinosuke Kinugasa (1896-1982) directed and co-adapted the historical play entitled "Jigokumon" (English transliteration of the Japanese title), which was written by Kan Kikuchi (1888-1948). The film's name (the same as the play) translates into English as "Gate of Hell", and was released theatrically in the U.S. in 1954. The story takes place in 12th-century Japan during the Heian period and at the start of a revolt. During the confusion and fear running rampant through the royal palace in Kyoto, a lady of the court, Lady Kesa (Machiko Kyô), is rescued by a soldier named Moritoh (Kazuo Hasegawa, 1908-1984). After the revolt fails, Moritoh is told that he can have anything that he wants, and what he wants is Lady Kesa to be his wife. He is quickly told, however, that she is already married to Wataru Watanabe (Isao Yamagata, 1915-1996). Rather than seek something different, Moritoh becomes dangerously obsessed with Lady Kesa.

Filmed in beautiful & vibrant color (probably one of the first color films from Japan), the cinematography in "Gate of Hell" is exquisite. The story is by no means dated, though it does become somewhat predictable. Still, it is both compelling and engaging and the acting is superb, especially Machiko Kyô. Memorable scenes in the film include the confusion at the royal palace, Laky Kesa hiding from traitorous soldiers, Moritoh meeting Lady Kesa and her aunt after the revolt, Moritoh given the choice of his heart's desire, the horse races, Moritoh at the home of Lady Kesa's aunt, and the ending scenes. The makeup used on Moritoh could have been better.

The film won several awards including an Oscar for Best Costume Design, an Honorary Academy Award for Best Foreign Language Film and the prestigious Grand Prize at the Cannes Film Festival in France. Overall, I rate "Gate of Hell" with 4 out of 5 stars. Hopefully, the film will be fully restored and released on DVD one day. I highly recommend the film.

10 of 10 people found the following review helpful:

4.0 out of 5 stars Great film, but desperatly needs restoration., December 31, 1999

By	Jules Carrozza, the Japanese film king (Bridgewater, MA, USA) - See all my reviews

I first saw this at a revival in the early eighties and couldn't believe how beautiful it was. Then I got this video and was suprized that it wasn't nearlly as beautiful as I remembered. The reason wasn't a bad memory, but the original prints used for showings have rotted in film vaults, and have become blurry, faded, and scrathy. I was very disappointed that Home Vision didn't present this digitally remastered and restored with new computer subtitles (the subtitles are quite crude). That's the reason I didn't give this five stars other than that, this is one of Japan's greatest masterpieces. The ending is pretty sad but has a beautiful ending. The degree that Moritoh will go to get Kesa is trully horrifying and Moritoh transforms from a herioc samurai warrior and hero of the film to a maniacal barbarian and villian. Recommended, but maybe the more picky film viewer who has an outburst everytime a scratch line goes down a film should perhaps wait until this is restored to the experiance it once was.

4 of 4 people found the following review helpful:

5.0 out of 5 stars Still stunning after all these years (SPOILER ALERT), April 22, 2006

By	SonzTwin "SonzTwin" (Orlando, FL) - See all my reviews

I saw this last night on TCM, which, BTW, is a rare treasure on the medium of the "idiot box". Isn't it remarkable that this movie is 53 years old, and it still sparkles? What an accomplishment! It had the ingredients of a truly great film - complex characters that are developed fully and efficiently, great story-telling with attention to details, and good acting - a little stylized, but keep in mind that that impression might be due partially to Westerners unfamiliarity with Japanese culture, and partially to how the definition of "good acting" has evolved.



I love the film's nobility and moral rectitude. Those were the days when (and we were in a culture where) "doing the right thing" was the expected norm. It was seen in Moritoh's loyalty at the price of - at least it seems at the time - expediency, which was preceded by Kesa's unflinching sense of duty and willingness to lay down her own life. This is the beauty of Kesa's "soul" that Moritoh found out all-too-late he failed to see, which manifested itself as bookends in the plot, but is in fact the moral center of the movie. Such ideals are no longer frequently or fully embraced these days. Look at how we glorify criminals in shows like The Sopranos and Thief. I also liked how the plot falls together: Kesa's readiness to sacrifice herself at the outset of the story made her self-immolation at the end of the film ring true. The little details: remember the talk of chestnuts when Moritoh first saw Kesa with her aunt? We saw later on those very chestnuts hanging on the swaying trees during Moritoh's unfortunate night time visit. When Wataru and Kesa took what turned out to be their last walk in the garden under a full moon, it was all peace and serenity. The very same setting is transformed sinister and ominous just moments later, with the moon now hidden by clouds, as Moritoh slowly emerges out of the darkness in the background - a truly masterful and memorable scene in the history of cinema.



The theme of "folly" pervades the movie: we see a lot of it just from one character, Lord Kiyamori - and he's a top dog and a leader! His son had to advise him to act quickly to quash the uprising when we first see him. He then failed to reward Kesa, who is every bit as deserving as Moritoh of recognition. Even if you chalk that failure up to the times and the culture, you can't excuse his Jephthah-like stupidity and arrogance in giving Moritoh pretty much carte-blanche in his wish for a reward. What's more, we have his incessant and insensitive teasing - instrumental in precipitating the tragedy, in that it made the proud Moritoh all the more determined to have Kesa. Was Wataru cowardly, foolish, or both, when he "threw" the race? Lest you missed it, there's the cruel irony of Moritoh's comment after his brother's treachery resulted in his execution, "My brother was a foolish man". Moritoh proved to be no Solomon.



I thought it was a little frustrating to watch Kesa's helplessness when Moritoh blackmailed her. Surely there's another way out, woman! But I suppose that's part of the tragic theme: all the characters had strengths as well as tragic flaws. At the risk of second-guessing the director of a great movie, I felt that he could have kept the identity of the person in bed a secret until the moment of truth, but I'm sure I need to remind myself that this is not meant to be a thriller. I'd like to watch this movie again, maybe along with a movie it reminds me of: Kurosawa's Ran.