Une oeuvre magistrale, d'une splendeur picturale éblouissante (utilisation du fameux procédé "eastman color") et d'une profonde véracité psychologique qui fut récompensée, entre autres, par les deux plus hautes distinctions du milieu cinéma, la Palme d'Or cannoise et l'Oscar du Meilleur Film Etranger... www.cinefiches.com
One of the most beautiful looking films ever made in terms of color photography, Gate Of Hell is still a sub-standard melodrama in terms of story. While post-WWII symbolism and context may loom over it, these literary qualities are unfulfilled thus making its heart not as affective outside of its vibrant and utterly titillating colors. The eye's in the right place, but the soul has to get in-sync.
A curious, strange film - I'd like to know a little more about it, as it shifts in tone quite a lot at the start from apparent war drama to apparent romance, before it sets on being about perverse male desire and power-play, in a love triangle. Beautiful use of colour and misty settings. May be political allegory, or may be based on how some samurais actually behaved. Then again it may just be a yarn!
Visually speaking, Gate of Hell was a marvel by 50s or today's standards. The brief shot where a lantern was being lit just past sunset was easily one of the most beautiful things I've ever seen on film. From a storytelling standpoint I didn't love it. Watching a seemingly solid guy turn into an idiot over a woman is never a pleasant thing to watch but the story's resolution and the final shot made this worth it.