An undercover state cop who infiltrated a Mafia clan and a mole in the police force working for the same mob race to track down and identify each other before being exposed to the enemy, after both sides realize their outfit has a rat.
In 1986, in the province of Gyunggi, in South Korea, a second young and beautiful woman is found dead, raped and tied and gagged with her underwear. Detective Park Doo-Man and Detective Cho... See full summary »
A priest, a woodcutter and another man are taking refuge from a rainstorm in the shell of a former gatehouse called Rashômon. The priest and the woodcutter are recounting the story of a murdered samurai whose body the woodcutter discovered three days earlier in a forest grove. Both were summoned to testify at the murder trial, the priest who ran into the samurai and his wife traveling through the forest just before the murder occurred. Three other people who testified at the trial are supposedly the only direct witnesses: a notorious bandit named Tajômaru, who allegedly murdered the samurai and raped his wife; the white veil cloaked wife of the samurai; and the samurai himself who testifies through the use of a medium. The three tell a similarly structured story - that Tajômaru kidnapped and bound the samurai so that he could rape the wife - but which ultimately contradict each other, the motivations and the actual killing being what differ. The woodcutter reveals at Rashômon that he ... Written by
When the film was released internationally to rave reviews, many speculated that Akira Kurosawa was influenced by Citizen Kane in the element of flashbacks that ultimately provide conflicting accounts of events. However, Kurosawa didn't even see Orson Welles's film until several years after the release of 'Rashômon'. See more »
Well, men are only men. That's why they lie. They can't tell the truth, even to themselves.
That may be true. Because men are weak, they lie to deceive themselves.
Not another sermon! I don't mind a lie if it's interesting.
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Kurosawa tells a story four times through different characters. The characters tell the story different four times. In flash-backs, all as the characters tell them, we see the stories. Are they lying, are they all telling their own truth or is there someone who tells THE truth? The way this is handled by Kurosawa is absolutely masterful.
Of course, his direction is great. Together with cinematographer Kazuo Miyagawa they do a tremendous job with the atmosphere in the woods. With perfect light angles it looks beautiful.
A real Japanese classic.
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