Kattiera Nana I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

ShangLuda Admirable film.

Robert Joyner The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Tyreece Hulme One of the best movies of the year! Incredible from the beginning to the end.

Vonia Gate of Hell (Japanese: Jigokumon) (1953) Director: Teinosuke Kinugasa 7/10 Jidaigeki film, Gorgeous costumes, set design, Lyrical koto. Stubborn man seeks married girl. A testament to honor. Tanka, literally "short poem", is a form of poetry consisting of five lines, unrhymed, with the 5-7-5-7-7 syllable format. #Tanka #PoemReview

mevmijaumau Gate of Hell was the first Japanese color film to be released outside Japan (it ISN'T the first Japanese color movie as some say it is, that'd be Keisuke Kinoshita's Carmen Comes Home), and it certainly shows that Kinugasa wanted to portray Japanese culture in the most colorful of lights. The eye-catching color of this film is the first thing that pops into my mind when I think of it. Some scenes look so fresh and tidy that they look like they're much more recent than 1953 (especially the outdoor scenes). Whether it's the stunning, painting-like portrayal of nature or the flashy clothes of the characters, the color work is an eye treat and some shots you could even hang on the wall because they're so beautiful.Some may say that the plot is predictable, but I had no problems with it. It's set up as a Greek tragedy and it's obvious that someone is going to die tragically in the end (according to some viewers, it may be a very loose adaptation of the story of Lucretia), but it never gets predictable and some parts manage to be very suspenseful, such as the horse race between the two rival samurai, or the final confrontation between Morito and Wataru, when Morito decides to live a life of sorrow.The movie has only one drawback, and that is the scene when Kesa is introduced and we hear this cartoonish angel-harp sound effect, which lasts only for two seconds but is kinda goofy. Still, it's a very minor thing. The main theme is very catchy and epic-sounding, and, while we're talking about music, the scenes when Kesa plays the koto are also very well-done.Unfortunately, Gate of Hell is not that well known and it's sad that people aren't that familiar with it as they are with the works of, say, Kurosawa. Kinugasa's masterwork definitely needs more love.

Michael Stewart I saw this film when new in 1954 in London, and still remember much of it today. It is a sad and poignant story, beautifully photographed and effectively directed. Costumes and scenery have an authentic air about them. It starts with a battle scene with the young women travelling in a small carriage under threat and in danger. It follows with her life being saved by the heroic action and bravery of a young warrior. He claims her for himself as a reward for his bravery but soon finds that she is already spoken for. Nevertheless he pursues her and insists on what he feels are his rights. This leads to friction in her family and eventually causes the tragedy of her death. It is a lesson in how selfishness can lead to unhappiness in another's life. I feel it is a film not to be missed and would watch it again if it were shown on UK TV. or was available on DVD

Howard Schumann 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.