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Rashômon (1950)

The rape of a bride and the murder of her samurai husband are recalled from the perspectives of a bandit, the bride, the samurai's ghost and a woodcutter.

Director:

Akira Kurosawa

Writers:

Ryûnosuke Akutagawa (stories), Akira Kurosawa (screenplay) | 1 more credit »
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Popularity
3,052 ( 149)

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Cast

Complete credited cast:
Toshirô Mifune ... Tajômaru
Machiko Kyô ... Masako Kanazawa
Masayuki Mori ... Takehiro Kanazawa
Takashi Shimura ... Woodcutter
Minoru Chiaki ... Priest
Kichijirô Ueda Kichijirô Ueda ... Commoner
Noriko Honma Noriko Honma ... Medium
Daisuke Katô Daisuke Katô ... Policeman
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Storyline

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 Huggo

Plot Summary | Plot Synopsis

Taglines:

The great, exciting Japanese production that brings a new experience to the cinema. See more »

Genres:

Crime | Drama | Mystery

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Japan

Language:

Japanese

Release Date:

26 December 1951 (USA) See more »

Also Known As:

Rashomon See more »

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Box Office

Budget:

$250,000 (estimated)

Gross USA:

$96,568, 2 April 2010
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Recording)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

When the film was released internationally to rave reviews, many speculated that Akira Kurosawa was influenced by Citizen Kane (1941) 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 »

Quotes

Commoner: Well, men are only men. That's why they lie. They can't tell the truth, even to themselves.
Priest: That may be true. Because men are weak, they lie to deceive themselves.
Commoner: Not another sermon! I don't mind a lie if it's interesting.
See more »

Alternate Versions

In order to get the film into more mainstream U.S. theatres, RKO also released this film in an English dubbed version. See more »

Connections

Referenced in Star Wars: Episode VIII - The Last Jedi (2017) See more »

Soundtracks

Woman's Tale Theme (Bolero)
Written by Fumio Hayasaka inspired by Maurice Ravel's "Bolero", using the same background rhythm, and similar orchestration and build-up, but different melodic lines.
See more »

Frequently Asked Questions

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User Reviews

A Technical & Creative Success
29 September 2004 | by Snow LeopardSee all my reviews

It's hard to tell just how striking "Rashômon" might have seemed to those who watched it in 1950, rather than seeing it after so many subsequent movies and other works have made use of its techniques and ideas. But it's clear that it is a technical and creative success. The story itself is not particularly satisfying, which was most likely by design, and the movie is carried by its structure and by the concept of the markedly different perspectives on the same series of events. The cast also deserve their share of credit for how well it works, and the photography is excellent, as it is in almost all of Kurosawa's films.

Kurosawa's expertise makes the interwoven sequences of past and present - essentially telling two different stories - not only work flawlessly, but fit together thematically. It's even more commendable when compared to some of the subsequent films that have tried to use similar ideas, only to come off as pretentious rather than creative or innovative. Kurosawa was also working with much less in terms of possible precedents.

In one sense, the choice of specific story material could seem a little odd.

The downbeat, rather sordid scenario makes the movie somewhat less enjoyable than several of Kurosawa's other pictures (which is, admittedly, a pretty high standard), and as a result "Rashômon" is more a film to respect and admire than one to enjoy and take pleasure from. Still, it does have significantly more substance to it than do most of the more recent pictures that have been deliberately downbeat or negative in their portrayals of humanity. Such stories are more trendy at present, and they often receive undue praise simply for so being.

At the same time, the lack of sympathetic characters and the paucity of hopeful developments bring out all the more its success in developing its ideas about narrative and about reality, ideas that are more fundamental and, in their way, perhaps at least as important as any specific story or events.


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