Rashomon

Akira Kurosawa was one of those directors, the first from the Eastern hemisphere, to develop the form and structure of cinema in ways it hadn't been. The story he used for Rashomon is now, like Seven Samurai, Hidden Fortress, and Yojimbo, a near archetype that at this point in the history of film has become formula and common knowledge for writers and directors. In that sense, Rashomon is as important and entertaining as a film as Citizen Kane, Battleship Potemkin, Rear Window, or Open City. Tee basic premise- Four different people give four different accounts on the rape and murder of a couple in the woods. A key ingredient to the success of Rashomon, is that the recollections given to the courts by the woman, the bandit, the as well as the four in discussion, is that their emotions reveal their humanity, even if their details reveal nothing, or everything. It's difficult to say whether character goes over story here, or if they have equal importance to understand Kurosawa's psychology with these people.

The opening shot of the house is a perfect representation of the mature of the picture, something that has fallen apart over time due to disasters that go beyond control of individuals. The man who heard the testimonies of the trial says "I don't understand". This has been a discussed line, since essentially he's saying the point right up front. All the information won't ease his puzzlement. The three who discuss the details of the crimes and confessions are crucial- they speak for us, what our opinions might be, and we listen to each version of the story, the characters, the fears, the pride, the shame, and the search for judgment and/or truth in the situation.

Along with being director and co-adapter, Kurosawa's mastery is revealed heavily in his use of editing- there are short, fleeting moments that hint, or rather pronounce, emotions and thoughts. For instance, when we first see Tajomaru, the bandit, played by action-legend Toshiro Mifune, he is looking up at the sky, bound in straps to keep him from moving, and for a second, or less than a second, there's a shot of what he sees in the sky, then back to his face which reveals an expression that borders on skeptical, and a bit crazed, or more. Mifune's part is of a barbarian, but all the more believable as a human barbarian since he acts as such with animal desires- he sees the woman in the woods, and knows he wants her, and while he reflects that he didn't have to have killed the man, he did as a last resort as a man with an urge. This is intensified by a sadistic flee with his actions.

What's intriguing about that first description/recollection of the battle between him and the other man, is that it seems like it could be the truth, and to one viewer it could, and to another it seems like it could all be apart of his hyperactive and trapped imagination. And in the attack of the bandit on the woman, at first to him, it's like a game, then in later descriptions, he feels a little more un-easy, then later, it's of neither pleasure or discomfort, it just is. This kind of technique later happens with the woman who was victim (who has conviction, though is herself an archetype of Lifetime women), the presence who saw it "all", and with the man who in the beginning didn't understand. In each telling the expressions, the cut-aways, the lighting and movement by Kazuo Miyagawa, it's equally startling, exhilarating.

That the film gives off such a hypnotic aura isn't surprising, or perhaps it is for those in the grips of the emotion of it all- the dead man's story is like the hook ripping into a twelve foot bass. The final accouter of the tale proves the most accurate to the common observer, yet Kurosawa knows that's not the point- if he made it as such to be bold AND had a definite concrete point, the ending would be as poignant when revealed is the truth, or what one could believe as the closest thing to it is. We know why that last person didn't want to get involved with the courts with what he knows: his story is no more a revelation, of any comfort or consolation to the listeners, than the others. I highly recommend this to anyone, and to those who have distaste to foreign films should view it once anyway- it's certainly not a long movie, and it won't loose its grip on anyone willing to give itself to the tale(s). For me, it's another to add to my top 50 of all time.

This was Kurosawa's first big international hit, from then on his films would be avidly watched and (usually) feted as Art. His style was always so breathtakingly simple that you can't help but get sucked into the rainy and sunny bestial world depicted in here, with a beautiful use of the black and white nitrate film stock contrasting against a sordid storyline. I've probably seen it 10 times now over the decades and it seems to get better every time I settle down to it - it's been a continual treat.

A horror story from a few days previous is recounted on a ferociously wet day: beautiful woman is (apparently) raped by animalistic bandit in front of her husband who is then (apparently) murdered. But who really did what to who and why? It's told from four viewpoints: the bandit's, the honourable woman's, the heroic dead husband's via a rather startling medium and lastly a breathless version from a timid eye-witness. The event becomes a crime scene with the beauty of forest surrounding us and splintered sunlight beaming down on us through the trees bearing mute witness to the savage few moments. It's a salutary lesson in Human Beings vs Objectivity; the psychologies of the main protagonists are laid bare, as well as the story-tellers, even to Kurosawa and the viewers themselves. Who's telling the truth/ was it a mixture of all versions/ was there another truth untold? Only you can decide!

I urge all innocent bystanders who have a problem with b&w non-HD 4:3 subtitled Japanese films from 1950 to try to get over it! Because it's a riveting journey, expertly handled by probably the best film director who's ever lived, all subjective of course.

Rashomon by Akira is probably one of his very best, from his storytelling to the visuals, the picture is amazing.

The film is about about the truth, and burying it because no one can handle it. People prefer to live a lie than admit the truth, very reminiscent of today's world. The characters are talking to us, we are the jury.

The performances are amazing, nothing acting is so good, blows away today's competition.

The film score is stunning as well, one of my favourites from a Japanese film.

The direction is breathtaking, the jungle is beautifully lit, it has a sense of horror to it. Black and white was the perfect choice.

Overall, an amazing film from a genius!

I cannot believe how incredibly stupid most people are. Most people seem to think that Rashomon was designed to show the difference in people's perceptions of an event. WRONG! This was obviously not even intended. The point of Rashomon is to show how people CANNOT ADMIT THEIR MISTAKES. We will do anything to deny the truth from themselves because the truth is too painful for most to bear. Rashomon's genius is in presenting this theme; sadly, most people are unable to grasp it (or maybe they don't want to...)

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.