Gate Of Flesh (DVD)
APPROX. 90 MINS. - PROD. YEAR: 1964 - MPA RATING: NR
" The girls are nasty, dirty, smelly, rude and crude and that seems to be exactly the way their johns like it.
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Yet as magnificent as some of Suzuki´s shots are, the images, which in other Suzuki films take full flight, are weighted down by the demands of a rather dreary and unconvincing narrative. Suzuki tries to develop Maya as a character but never quite succeeds; her seduction of a well-meaning American priest is particularly implausible. When the other girls turn on both Machiko and May, the punishment they mete out is more perfunctory than perverse and not a fraction as titillating as Suzuki can be at his naughtiest. Likewise, Shin´s ultimate tragic fate is too calculated and doesn´t carry the emotional payoff necessary to make the final scenes truly resonate. "Gate of Flesh" was, however, a rare box office success for Suzuki; Japanese audiences living in the rebuilt and thriving Tokyo of 1964 still remembered what it was like just a decade and a half before when a venerable empire seemed like it was in permanent ruins.
Though he was forced into temporary retirement in the 1970s in Japan because of conflicts with Nikkatsu studio, Suzuki´s international influence grew over the years. You have almost certainly seen many Suzuki-influenced shots without knowing it. In "Ghost Dog," Jim Jarmusch lifts a shot (where Forrest Whitaker shoots a man through a drainpipe) directly from "Branded to Kill." Remember that cool shot in "Reservoir Dogs" where they all walk along the train tracks in formation? That´s from "Tokyo Drifter." Tarantino brags about ripping off every film he´s ever seen but no single director has influenced him more than Suzuki; in fact, just about every other shot in Kill Bill Vol. 1 is lifted from Suzuki. I only exaggerate slightly.
"Gate of Flesh," despite its saucy reputation, is too tame by half to be considered one of Suzuki´s better films. However, every Suzuki film (at least of the ones I have seen) contains several unforgettable shots that will leave you reeling. Even a mediocre Suzuki film is well worth your time.
Video
The film is presented in its original 2.35:1 aspect ratio. The restored digital transfer is yet another in a long line of triumphs for Criterion. Suzuki´s pastel hues shimmer and pop, and the flesh is as fleshy as flesh can be. The image quality is clear and sharp, and the print has been cleaned up so that only a few blemishes remain.
Audio
The DVD is presented in Dolby Digital Mono. The remastered soundtrack is a professional job with well-mixed music and effects. Optional English subtitles support the Japanese audio.
Extras
The DVD of "Gate of Flesh" is just skin and bones. The only noteworthy extra is a recent interview (21 min.) with Seijun Suzuki and production designer Takeo Kimura. The disc also includes a stills gallery and a theatrical trailer. The insert features a new essay by critic Chuck Stephens in his usual unique prose.
Closing Thoughts
If you´re a Suzuki fan, you will certainly want to see "Gate of Flesh." However, if you are about to make your first plunge into the world of this iconoclastic master, you would do better to start with two older Criterion releases, "Tokyo Drifter" and "Branded to Kill." I am also a big fan of his recent "Pistol Opera" (2000) but it might be a bit too heady and potentially alienating for someone just getting to know Suzuki.
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