Nikutai no mon (1964)

Director:

Seijun Suzuki

Writers:

Taijiro Tamura (novel)
Goro Tanada (writer)

Release Date:

11 December 1964 (USA)

Genre:

Drama

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...

Plot Keywords:

Jealousy | Sex | Tattoo | Fugitive | Bathing Scene

Cast

Yumiko Nogawa	...	Maya
Jo Shishido	...	Shintaro Ibuki
Kayo Matsuo	...	Omino
Satoko Kasai	...	Sen
Tamiko Ishii	...	Oroku
Misako Tominaga	...	Machiko
Isao Tamagawa	...	Horidome
Koji Wada	...	Abe
Keisuke Noro	...	Ishii
rest of cast listed alphabetically:
Kuniko Kawanishi
Chico Roland	...	Black Pastor

Directed by
Seijun Suzuki

Writing credits (in alphabetical order)
Taijiro Tamura		novel
Goro Tanada		writer

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

Second Unit Director or Assistant Director
Masami Kuzuu	....	assistant director

Sound Department
Jiro Yonezu	....	sound

Camera and Electrical Department
Aizo Kono	....	lighting technician

Production Companies

• Nikkatsu

Distributors

• Criterion Collection, The (2005) (USA) (DVD)
• Janus Films (USA) (subtitled)
• Nikkatsu (1964) (Japan) (theatrical)
• Toho Company (1964) (USA) (subtitled)

Also Known As:

Gate of Flesh

Runtime:

90 min

Country:

Japan

Language:

Japanese | English

Color:

Color

Aspect Ratio:

2.35 : 1

Sound Mix:

Mono

Certification:

UK:18 (video rating) (2000) | UK:R (1968) | France:-12

Company:

Nikkatsu

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.

Movie Connections:

Featured in From the Ruins: Making 'Gate of Flesh' (2005) (V)

Far doors

A jump and you meeting like in a film of Oshima or Mizogouchi. Nikutai Mon (1964) can not be seen like a scandal or like a true masterpiece. The personage, nearly a samurai bankrupt, played by the hounded man is exemplar in order to understand like Japan same changing, in the forecasts of Mishima, worse. For being more clear I will say Japan in free fall. An example is the here impotent police while in group the young people kill and stole. Under this optical the worlds formed from this man and these three women is parallel, peculiar, sadist. Turned always holding the cinema camera to level of the human eye: Nikutai not Mon (1964) a little reassuring neorealism, the land rendered fertile from the tragedy of Seppuku, directed from Kobayashi time before. Now Japanese cinema has nothing more to say while collects the fragments of its tradition.