Lady of the Law / Gate of Flesh

Asian cinema has long gravitated toward masculine tales of yakuza, drifters, and martial artists who solve problems with typically violent flair. But women take the spotlight in the latest releases from 88 Films: Lady of the Law and Gate of Flesh. Beyond that, the similarities end, as each film tackles its material from vastly different angles.

Jumping on the 1970s Hong Kong trend of female action heroes, Lady of the Law (1975) stars Shih Szu as a straight-faced, straight-edged enforcer whose only vulnerability is a kind heart that balances her lethal skillset. Tasked with bringing a serial rapist to justice, she discovers her prime suspect is a childhood acquaintance—framed for the crime. But will the truth come out before her swords are drawn?

A fairly standard wushu adventure, this one delivers all the expected superhuman leaps and dazzling swordplay. What elevates it is Shih herself, especially during a final boss battle staged on a tightrope. Her trademark derisive “hmmphf” at doubters is a reliable crowd-pleaser. Along the way, director Shen Chiang crafts a vibrant road trip packed with corrupt officials, blood oaths, and a detour into Blossom Valley—populated by an all-female martial arts clan whose “needs” go well beyond combat training.

Gate of Flesh (1988), aka Carmen 1945, marks the eighth adaptation of Taijiro Tamura’s postwar novel. Tamura’s “literature of the flesh” struck a chord with Japanese audiences seeking to process the trauma of military defeat and embrace a new era of social freedom. Directed by Hideo Gosha, this version follows a familiar outline: a group of panpan girls (prostitutes) survive in a bombed-out building—complete with an unexploded shell still lodged inside. When a wounded ex-soldier arrives, jealousy fractures the fragile sisterhood and throws them into a brutal struggle for survival and resources.

Japanese cinema was slow to confront the psychological scars of WWII, largely due to censorship by occupying U.S. forces. By 1988, however, Gosha could address these themes head-on—mixing stark political critique with unabashed roman porno flourishes. Gate of Flesh sways elegantly between exploitation and art, with Gosha staging savage fight scenes but always circling back to the broken heart at the story’s core: a world built by men, endured by women.

Available separately, both releases are gorgeous to look at and include a good amount of extras.  Lady of the Law tacks on an audio commentary by David West, stills gallery, slipcover and fold-out poster.  Gate of Flesh adds an audio commentary by Amber T. and Jaspar Sharp, introduction by Earl Jackson and interview with Toei tattoo artist Seiji Mouri.