After World War II came to an end, a great number of Japan's major cities were left in shambles. However, the Japanese began to rebuild almost immediately after the war came to the end. The earliest post-war settlements were shantytowns and the remains of scorched buildings. Because of the chronic lack of food, most individuals were forced to purchase food at the black market. Although illegal, the black market was the only source of essential foodstuffs. Also, during this time period, a number of women, whose fathers, brothers, and sons were killed during the war, were forced into prostitution to support themselves. With tens of thousands former Japanese soldiers and American soldiers swarming into the country, there were definitely enough men to garner money from.
Seijun Suzuki's 1964 film takes place in one of these shantytowns and it follows the lives of five such prostitutes: The refined Machiko; the tattooed Sen; the chubby Roku; the boisterous Mino; and the youngest of the group Maya. The film begins with Maya fleeing from a man who had tried to pimp her to an American soldier, however, luckily for her Sen intervenes. Struggling to survive, Maya follows Sen back to the latter's home and soon joins Sen and her fellow prostitutes in peddling flesh. However, unlike other prostitutes, the women are able to keep their money because they do not work for a pimp. Although they seem to be close, the women can be quite vicious. Their sole rule is that no member may sleep with a man without receiving payment. If one breaks the rule, one is stripped naked, tied up, and beaten. Although far from ideal, the women seem to get along decently well until a man Ibuki Shintaro, Shishido Joe, comes into their ranks. Heavily muscled and of a demanding nature, each one of the prostitutes fall for the ex-soldier and this of course endangers this little circle of "friends." Like many of his other films, Suzuki's Gate of Flesh is quite violent. While not nearly as vicious as Miike films, Gate of Flesh caused quite a stir when it was released in 1964. While the beating scenes are moderately tame, there is a graphic scene in which a cow is slaughtered.
In my opinion, the most striking aspect of this film is the use of color. Each prostitute wears a specific color and this makes for some quite striking scenes. Sen, Kasai Satoko, is quite striking in red. This is an interesting film that might interest those who would like to see a cinematic version of Japan's early postwar years.
Seijun Suzuki's 1964 film takes place in one of these shantytowns and it follows the lives of five such prostitutes: The refined Machiko; the tattooed Sen; the chubby Roku; the boisterous Mino; and the youngest of the group Maya. The film begins with Maya fleeing from a man who had tried to pimp her to an American soldier, however, luckily for her Sen intervenes. Struggling to survive, Maya follows Sen back to the latter's home and soon joins Sen and her fellow prostitutes in peddling flesh. However, unlike other prostitutes, the women are able to keep their money because they do not work for a pimp. Although they seem to be close, the women can be quite vicious. Their sole rule is that no member may sleep with a man without receiving payment. If one breaks the rule, one is stripped naked, tied up, and beaten. Although far from ideal, the women seem to get along decently well until a man Ibuki Shintaro, Shishido Joe, comes into their ranks. Heavily muscled and of a demanding nature, each one of the prostitutes fall for the ex-soldier and this of course endangers this little circle of "friends." Like many of his other films, Suzuki's Gate of Flesh is quite violent. While not nearly as vicious as Miike films, Gate of Flesh caused quite a stir when it was released in 1964. While the beating scenes are moderately tame, there is a graphic scene in which a cow is slaughtered.
In my opinion, the most striking aspect of this film is the use of color. Each prostitute wears a specific color and this makes for some quite striking scenes. Sen, Kasai Satoko, is quite striking in red. This is an interesting film that might interest those who would like to see a cinematic version of Japan's early postwar years.