Rashomon (1950)
I'd seen this once before. I've assumed throughout this HOF that this would be my #1. My second watch made that abundantly clear. This is an absolute masterpiece - probably one of the 25 greatest films ever made and certainly among the most influential. A searing, heart-wrenching exploration of the philosophy of man, justice, and objectivity itself.
First the big picture: Rashomon is rightly famous for its subjective storytelling. The story involves four different perspectives on the same event, a murder in a heavily wooded grove. It is framed by philosophical discussions at the Rashomon city gate between a woodcutter, a monk, and a commoner. The monk and woodcutter relate a disturbing story to the commoner based on their own experience. The woodcutter tells of coming upon a murdered samurai while on a trip into the forest to cut wood. While in the forest, the woodcutter finds a woman's hat, then a samurai cap, then cut rope, then an amulet, and finally the body, at which point, he claims, he then fled to tell authorities about the body. The monk notes that he saw the samurai traveling with a woman in the same wood the day of the murder.
The film shifts to a trial format, at which the first three stories are told. Notorious bandit Tajōmaru (Toshiro Mifune) is accused of the murder. Tajōmaru claims he saw the samurai and his wife walking by and was so enchanted by the woman that he followed them. He claims to have tricked and captured the samurai, tying him to a tree, then seduced the samurai's wife (Machiko Kyō). The wife, shame by her behavior, begs Tajōmaru to release her husband and fight a dual for her heart. Tajōmaru agrees and, he claims, fights a glorious battle with the samurai, ultimately prevailing and slaying him while the wife runs off. The wife next tells her story, which materially differs in the details, followed by the murdered samurai's spirit via possession through a medium. The film concludes with the woodcutter's story, quite different than his original tale. The details should not be spoiled. Suffice it to say that the characters, their actions, and their motivations, differ significantly in each telling, with a spirited debate about whether man is hopelessly savage. It's a profound and mesmerizing look at the human condition, with all its warts.
Besides revolutionizing storytelling, Rashomon inspired decades of exciting, creative cinematography thanks to the groundbreaking work of Kurosawa collaborator Kazuo Miyagawa, who boldly pointed the camera into the sun, something then unheard of, and by constructing an abstract yet unified space for the action in the grove. It is impossible to tell how far into the woods we are at any point, where we are within those woods, or what the way out is. Kurosawa's and Miyagawa's him incredible composition is also present throughout, framing characters a bit like a Renaissance painting, in perspective and facing different angles, creating a dazzling depth of frame.
Then there is the acting. The first time I saw the film I was put off a bit by Toshiro Mifune's aggressive acting style. He spends a lot of the movie yelling, posturing, and being well...big. At the time, I decided this was probably a function of Japanese acting style/philosophy but I still found it jarring. I think I was correct, but I found it less jarring this time. Perhaps because I've seen a lot more Japanese films and a lot more Mifune. It's also partially because I think the style really embodied the character he was playing in such a strong way. Mifune is meant to embody our id and its selfish, frenzied desires. It's difficult to argue he doesn't hit the mark. Even better is Kyō, in a tour de force as the samurai's wife. Given the nature of her part in the narrative, she is required to play vastly different roles and motivations, yet handles each one flawlessly, going from the most gentle, weak flower, to a strong aggressor, to pure evil. It's genius.
In all, Kurosawa's first masterpiece is justly regarded as such. A giant leap from prior films and one that stands as one of the most influential films in cinema history. Bravo. 10/10.