Moritoo Endô: Today is the first day of a life of sacrifice.
Moritoo Endô: Brother, please don't be a traitor. This isn't you.

Moritada: I know what I'm doing. What good will it do for you to serve Kyomori?

Moritoo Endô: I don't know. Once you serve him though, he's your master forever. How can you betray him in his absence?

Moritada: It's not cowardice. It's shrewd stratagy. I'm sorry to tell you Kiyomori won't be coming back.

Moritoo Endô: How can a pack of mutts defeat the Taira Clan?
Kesa: [after Moritoo grabs her in a strong embrace] What are you doing?

Moritoo Endô: You refuse no matter what?

Kesa: Yes.

Moritoo Endô: Then I'm ready. You're mine now!

Kesa: No matter what you say, female virtue won't allow it.

Moritoo Endô: Drop your husband. Leave Wataru.

Kesa: I can't do that.

Moritoo Endô: Why can't you? I, Moritoo, will slay Wataru. I won't stop with Wataru. If needed, your aunt too. I might have to kill you too!

Kesa: [the camera moves in for an intense close-up of Kesa] Are you ready to do all that? Do you want me that much?

Moritoo Endô: I want you. I can't live without you. What do you say? Can't you grant my wish? Eh? Why don't you answer? Do you want Wataru, yourself, and your aunt all dead? Kesa! It all depends on your answer now.
Moritoo Endô: [to Kesa's aunt] If you take a step outside tonight, I'll lop off your head!

Gate of Hell Quotes

Extended Reading

Gate of Hell short comments

Elroy 2022-03-19 09:01:09

The most interesting thing is color, the first color film to be released. The art is directed by Ito Aisaku, who served as the art of Kinoshita Keisuke's version of "Narayama Festival Kao". The visual experience of the two works is very beautiful as a classical stage play, and the characters' psychology and emotion are paved with color. The rebellion in the opening hall of Hell Gate, and the part where the cassock leans slightly in the imperial carriage, are as gorgeous and elegant as Ukiyo-e in terms of color and composition.
Deon 2022-04-20 09:02:32

The standout feature of the standard Japanese-style ethnic bizarre lies in the strange atmosphere and the successful shaping of traditional oriental women's views. Stage landscape and dramatic transitions. The atmosphere is obviously the stacking effect of empty mirrors and subjective perspectives. It is a bit unconvincing to put it in the Bazin unit. Is it because of the age? Only reel-to-reel side-scrolling camera movement can make a difference.