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Rashomon (1950)

Rashômon (original title)
Not Rated | | Crime, Drama, Mystery | 26 December 1951 (USA)
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
2,849 ( 38)
Top Rated Movies #126 | Nominated for 1 Oscar. Another 9 wins & 4 nominations. See more awards »

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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 ... Commoner
Noriko Honma Noriko Honma ... Medium
Daisuke Katô ... Policeman
Learn more

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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 husband, the wife...or the bandit? See more »

Genres:

Crime | Drama | Mystery

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Did You Know?

Trivia

Numerous American TV shows - sitcoms, science fiction adventures, animal cartoons, etc. - have had a "Rashomon episode" where the same series of events is remembered differently by various characters. See more »

Goofs

Around the 22:30 mark (in the Criterion release), the bandit explains to the husband about the sword and where it came from, but the words don't even come close to matching his lips' movements. See more »

Quotes

Commoner: But is there anyone who's really good? Maybe goodness is just make-believe.
Priest: What a frightening...
Commoner: Man just wants to forget the bad stuff, and believe in the made-up good stuff. It's easier that way.
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 Hooperman: Rashomanny (1989) 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 »

User Reviews

What did we just see?
10 February 2002 | by rogierrSee all my reviews

'People forget the unpleasant things. They only remember what they want to remember.'

In Rashomon the editing tells ½ of the story. It may feel experimental or unconventional, but Kurosawa perfects the concept second by second, directing and editing. This film didn't need a big budget to come perfectly to the point. It's a simple tale, but not a superficial tale. Different points of view and selective memories ('It's true! I saw it!') don't only make the woods unsafe, but are one of the most universal topics of humanity. 'We humans are weak creatures. That's why we lie, even to ourselves' says it all actually: it's about what people want to hear and when they start being interested at all, apart from wishful thinking. Selfish excuses vs trust in other people.

Rashomon gets masterful when in one instant there is literally a different point of view: the camera takes another position to shoot the same sequence, thereby forcing the audience to reconsider what they just saw. That is the sort of storytelling that the supposed masters of cinema in our time yet have to equal, or try to copy when they fail. Admitted 'Memento' (2000, Nolan) is a truly great one. Still not THAT universal. 'Pulp Fiction' (1994) didn't come close, 'La Commare Secca' (1962) also didn't. 'Ghost dog: the way of the samurai' (1999) touched another border of the concept, or does it?

The use of (non-original) music in my opinion reveals a certain interest for western influence, not only in Rashomon, but also in Kurosawa's forthcoming films, and is probably why his films were so influential on western filmmakers too.

The cinematography is dynamic and changes scene by scene to emphasize exactly what is going on. The shadows of leaves and branches, captured by cinematographer Kazuo Miyagawa, make you really feel 'in the woods', while the actors (Toshirô Mifune, Takashi Shimura) convince the remaining part of the audience (which adds up to 100% breathless viewers). It may be after days that you first realize you saw an important film. After weeks you realize that you must see it again to comprehend (despite it's only 85 min), and ironically that is just one of the crucial points that Kurosawa made. 10/10


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Frequently Asked Questions

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Details

Country:

Japan

Language:

Japanese

Release Date:

26 December 1951 (USA) See more »

Also Known As:

Rashomon See more »

Filming Locations:

Japan See more »

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Box Office

Budget:

$250,000 (estimated)

Opening Weekend USA:

$15,942, 28 July 2002

Gross USA:

$46,808

Cumulative Worldwide Gross:

$46,808
See more on IMDbPro »

Company Credits

Production Co:

Daiei See more »
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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