GATE OF HELL [JIGOKUMON] (Masters of Cinema) BLU-RAY

This was the first film of its kind in colour, and it shows ! A true feast for the eyes as every colour known to mankind bursts from the screen. The story of an impossible love affair is Japanese tragedy at its very best. No happy end here. Great stuff !!

Gate of Hell was released all the way back in 1953. The movie was directed by Teinosuke Kinugasa, features some stunning cinematography by Kohei Sugiyama and has excellent performances from the three lead actors, Kazuo Hasegawa, Machiko Hyo and Isao Yamagata. According to what I've read, this film was one of the first movies in the history of Japanese cinema to utilise colour and was the first colour film to be released outside the country. The movie even won the grand prize at the 1954 Cannes Film Festival, an honorary Academy Award in 1955 and more. A pretty impressive achievement, if I do say so.The film has a nice basic story, one full of emotions and a lot intensity. The lead character Morito Endo saves the life of the Empress during a raid on the palace during the Heiji Rebellion. Soon after he takes a fancy to the beautiful Lady Kesa whose hand he demands in marriage as a reward for his services in battle. One problem, Kesa is already taken by Morito's superior Watanabe. This causes his emotions to boil and eventually explode in a tail of infatuation, obsession, competition and eventual terror. It's a pretty well told story that escalated perfectly at the end. It's an excellent climax to a very well paced movie.I mentioned earlier about the use of colour in this film. Most Samurai films I have seen have all been in black and white. They are all beautifully done in their own right but when it comes to being a real treat for the eyes, Gates of Hell is heads and shoulders above the rest. I can not tell you just how beautiful the sharp detail, clarity and colours are in this movie. You can see every tiny detail in the fabrics, dresses, armour sets etc. It's an absolutely gorgeous film and everyone responsible deserves every bit of praise for their use of colour. I would kill for a movie in this day and age to have this level of visual intensity. We just don't see it enough in modern films.Talking of the visual quality, anyone interested in this film will be very pleased to know that the actual film quality is near enough perfect. The film has been superbly restored and looks near enough flawless throughout. There are a few extremely minor scratches here and there but this is easily one of the best looking 1950s Japanese films I have seen. God knows, I wish Toho would put more effort into restoring their content. Clearly it can be done.In terms of Japanese and Asian cinema, I would say this should be on your to buy list. This is a great film, a really great film. It's simple enough that even the most basic of people can follow it, it's visually stunning and the pacing is absolutely perfect. Do yourself a favour and pick it up. I couldn't recommend it more.

In 1953 Teinosuke Kinugasa's Gate of Hell aka Jigokumon was one of the breakthrough Japanese films on the international market, winning the Grand Prix at Cannes and two Oscars (though, shockingly, neither was for Kôhei Sugiyama's remarkable photography) but received a rather more muted reception in its homeland. That's perhaps understandable since the execution is much more impressive than the not always convincing plot, particularly a crucial development in the third act that rather strains credibility and leaves you wanting to shout "Just tell him!" at the screen. The first third of the film is rather deceptive too, beginning as a vividly stylised saga of dynastic struggle as a proud rural samurai plays a crucial role in thwarting a coup during the Heiji War. Asked to name his own reward, he asks to marry the court lady in waiting who acted as a decoy for the Emperor's sister, and refuses to take no for an answer when he learns that she is already married to the head of the Imperial Guard. The condescending amusement of the court and rival samurai and the decency of the woman's husband only fuel his desire further until tragedy is inevitable...It's a film that occasionally manages to wrongfoot the viewer, not least in the final scene, but as drama it's never quite as compelling or convincing as it could be. Kasuo Hasegawa's intransigent would-be husband and Isao Yamagata's kindly husband offer an effective study in contrasts, the former tightly wound, the other blinded to the danger by his own unselfishness but, surprisingly, Machiko Kyo is more problematic as the woman caught between them, all too obviously hitting her marks and striking poses at times while the rest of the cast seem more unforced. But ultimately it's the camera rather than the cast that makes the film such a remarkable experience - the film's use of colour is absolutely extraordinary, with a bold strong colour palette that's dramatically compelling in its own right. It's hard to disagree with Martin Scorsese, who described the film as one of the ten great achievements in colour cinematography in world cinema, and thankfully Masters of Cinema's Blu-ray/DVD combo has a stunning transfer of the breathtakingly excellent 2011 restoration of the film. On one level you could argue that the film is a triumph of style over content, but the plot is still strong enough for the style to enhance the content even if the film's striking visuals remain the main attraction.The disc has no extras apart from a detailed booklet, but it's such a visual feast it's unlikely you'll be disappointed with the disc.