Gate of Hell

Effective early use of color in Japan. The exposition seems a little clumsy, but once the principal tragedy begins to play out in confined, brooding interiors, the film is powerful. The male leads aren't that memorable, but Machiko Kyo gives a subtle and compelling performance.

A handsome costume drama set in the courtly intrigues of feudal Japan. The storytelling is rather archaic but very workable. Kind of a riff on the classic Romeo & Juliet story with a distinctly buddhist touch. Decent acting & music but what really elevates this is the superbly expressive cinematography and costuming that splatter the screen with vivid textures & delicate compositions of transient beauty. Along with Kwaidan & Narayama Bushiko this really establishes the power of colour film.

Perhaps even more beautiful than Kwaidan. It's like a jidaigeki as shot by Douglas Sirk, all bold romantic melodrama and striking colors. Granted, it lacks the complexity of Sirk, but as a straightforward tale of obsession it's plenty effective and at 86 minutes doesn't overstay its welcome. It's interesting what an irredeemable prick the protagonist is, and how much more honorable his rival.

A beautiful tragedy.

A film of overwhelming visual splendor, it must be seen to be believed. The color palette is wide and vibrant, and depth of field adds texture that recalls the layered compositions typically seen in Japanese animation. Truly, it's one of the most beautiful color films I've ever seen. Unfortunately its narrative shortcomings are plentiful. The exposition is clumsy. The plot seems thematically sound, but in execution is thin and one-note. Machiko Kyo's is the only performance of particular praise.

This was a very lush, beautiful, and colorful film with a very languid pace. Some of the music was really great and fit the emotion or mood of the film while other pieces missed the mark for me. The acting was decent overall if a little exaggerated.

This has got to be one of the most beautiful, vibrant movies I've ever seen. The colors just strike out and it's impossible not to notice how otherworldly they seem, especially the purple on the horses. Moritō sure is a grade A asshole, though, and watching him can be somewhat frustrating. The story is simple, but it keeps you entertained and kind of hoping for the best.

Maratona em honra de Machiko Kyō (1924 — 2019) filme #8. Kinugasa. Não sei se foi a restauração, mas o colorido da Eastmancolor neste filme é tão deslumbrante quanto o Technicolor do período e a forma como Kinugasa explora as cores em cada enquadramento ajuda muito no deslumbre, no mais a narrativa gira em torno de um típico macho do caralho com tintas vilanescas (a ponto de chutar até um cachorro), mas quem acaba sempre se fodendo é mesmo a mulher desde tempos imemoriais em qualquer

Star Rating: ★★★

The colours are by far the biggest draw here. Striking from the first moment to the last. The rest is a pretty good Samurai melodrama with slightly artificial performances. Certainly interesting enough to be compelling on its own, but without the visual flair it'd be much less memorable.

In 12th century Japan, a warrior (Kazuo Hasegawa) becomes obsessed with a married woman (Machiko Kyo), with tragic results. A simple, haunting tale, still relevant as an exploration of male privilege and entitlement. Hasegawa is frighteningly pathetic, and Kyo is subtly poignant. Teinosuke Kinugasa's assured direction is enhanced by the incredible use of color (it won an Oscar for its costumes, along with an award for the film itself); it's an intensely beautiful film from start to finish.