《肉體之門》與另一部同是改編田村泰次郎小說的《春婦傳》,都是鈴木清順的反戰主題電影。曾入伍親歷戰爭的他,作品經常以誇張、荒誕、無稽的手法呈現性和暴力,突顯人尤其在戰爭中的無力和無常感。色彩經常是他電影一大武器,這部關於妓女的故事,以紅、紫、綠、黃服飾來區分不同妓女。為了生計和生存,她們有自己奉行的金科玉律,例如千萬不能動真情。宍户锭飾的退役士兵伊吹新太郎因傷與她們暫居,各人漸漸都希望佔據他,其中瑪雅更打算跟他遠走高飛,以為命運可以改寫,最後希望卻換來絕望。

Suzuki Seijun's pulpy adaptation of Tamura Taijuro's 1947 novel offered the director new avenues to refine his iconoclastic style. In the shelled remains of post-World War II Tokyo, a gang of prostitutes defends their territory from rival working girls, seedy Yakuza and American GIs. There's only one major rule: don't offer anyone sex for free. But the arrival of wounded ex-soldier Ibuki sows seeds of strife in the tenuous community. When Ibuki's shared affinity with the youngest prostitute Maya gets serious, the world they've created is torn asunder. Equal parts lascivious melodrama and wicked social critique, this chronicle of desperation and depravity is among Suzuki's most daring works.