← Back to Reviews
in
Plot – At Rashomon gatehouse a priest, a woodcutter and another man gather to escape the rain. The woodcutter and priest relate a story of a trial into a rape and murder. At the trial three different versions of the same story are told, but none of them tie up with the woodcutter's own tale. So which story, if any, is the truth?
So we're off to Japan again. For the third time in the last five reviews, and two in a row, I'm looking at some output from the land of the rising sun. Though this is probably about as far from the previous Japanese film (The Mysterians) as you could get!
I have seen this film before but I believe it was only once and that was many years ago now so I didn't really remember much of it. Which was nice actually, let me discover it again. This is an expertly constructed film from master director Akira Kurosawa. It's a sharp, intense and cynical exploration of the subjectivity of truth and the weakness of mankind. With it's unique and lively narrative and directorial style this is a film that still feels fresh over 60 years after it first appeared on the scene.
Working from his own wonderful script Kurosawa's direction is terrific, the film is shot just beautifully with a real lyrical quality. Indeed it feels almost like a harsher Terrence Malick at points. The crumbling Rashomon Gate, pounded by lashing and unrelenting rain, is an extremely evocative setting to tell the story from. And the forest where the crime, whatever it was, takes place often takes on a haunting and almost mythic atmosphere. Full of striking photography it looks wonderful. The way the images flow together is extremely expressive, especially when coupled with the use, or at times absence, of score music. The scene at the beginning where the woodcutter is walking through the forest, made up of a kaleidoscope of images and shadows set to a beautiful piece of music is a stunning scene, just drawing you in early on. Indeed his direction is notable at creating numerous tones to go along with the action, whether it be barbaric, contemplative or even some dark slapstick comedy. He also uses very powerful, snappy editing to really move the film along at a great pace.
While there is a lot to admire here, for me overpowering everything was the performance of Toshiro Mifune as the bandit. He is just incredible. His bandit is unpredictable and crazed, and just demands your attention any time that he is on screen. He's a character full of swagger and bravado, but with little substance; a man just desperate to live up to his billing as the most dangerous and vicious bandit around. While he is on trial he is like a wild, untamed beast. The rest of the cast too supply strong showings, even if the melodramatic and heightened acting style takes a little bit of adjusting to. This is particularly true for Machiko Kyo who portrays the wife of the piece. Once you get past her hysterical rantings there is a rich, mysterious and mesmerising individual to be found. Depending on which version of the story we are presented with, she is the one who varies most in terms of character. At times pure and virtuous, at others insidious and vicious; switching from an innocent victim to manipulative temptress.
Whatever else his films are about Kurosawa always seems to look at the human element and here is no different. Though this time out it's a rather damning verdict of humanity. We lie, we cheat, we steal. In short we suck! The witnesses all present their own versions of events, and each time they place themselves in the best light (even when it means claiming they are the killer) and make themselves look strong, in the process making those around them appear pathetic and weak. And then the woodcutter reveals what he saw, what I took to be the truth, or at least as close as we are going to get. His story shows the weakness and cowardice of all involved. Particularly revealing is how after building up an apparently epic battle, the woodcutter shows what a pathetic tussle it really was. Their 'battle' descends into slapstick with both men seemingly too afraid of death to be able to fight properly, running and stumbling about like scared little boys. So humanity, not looking too good is it? At least until a last minute piece of redemption when the woodcutter selflessly agrees to adopt an abandoned child. In the grand scheme of things it's a small gesture, but one which provides a chink of light, a little piece of hope for us.
This is a film that is arguably right up there amongst the most influential of all time. Indeed it's story was so revolutionary and influential that the film has become shorthand for this type of tale (the Rashomon effect), and has been used numerous times both in film and TV – The Usual Suspects, Hero and episodes of The Simpsons, The X-Files, Leverage, Star Trek: The Next Generation and CSI amongst many others I'm sure all used its structure as inspiration.
Conclusion – A terrifically constructed and realised tale from Kurosawa. With powerful performances, scripting and direction it is richly deserving of its standing as one of the great classics of cinema.
|
|
Year of release
1950
1950
Directed by
Akira Kurosawa
Akira Kurosawa
Written by
Akira Kurosawa (script)
Shinobu Hashimoto (script)
Ryūnosuke Akutagawa (story)
Akira Kurosawa (script)
Shinobu Hashimoto (script)
Ryūnosuke Akutagawa (story)
Starring
Toshiro Mifune
Machiko Kyo
Masayuki Mori
Takashi Shimura
Toshiro Mifune
Machiko Kyo
Masayuki Mori
Takashi Shimura
Rashomon
+
Plot – At Rashomon gatehouse a priest, a woodcutter and another man gather to escape the rain. The woodcutter and priest relate a story of a trial into a rape and murder. At the trial three different versions of the same story are told, but none of them tie up with the woodcutter's own tale. So which story, if any, is the truth?
So we're off to Japan again. For the third time in the last five reviews, and two in a row, I'm looking at some output from the land of the rising sun. Though this is probably about as far from the previous Japanese film (The Mysterians) as you could get!
I have seen this film before but I believe it was only once and that was many years ago now so I didn't really remember much of it. Which was nice actually, let me discover it again. This is an expertly constructed film from master director Akira Kurosawa. It's a sharp, intense and cynical exploration of the subjectivity of truth and the weakness of mankind. With it's unique and lively narrative and directorial style this is a film that still feels fresh over 60 years after it first appeared on the scene.Working from his own wonderful script Kurosawa's direction is terrific, the film is shot just beautifully with a real lyrical quality. Indeed it feels almost like a harsher Terrence Malick at points. The crumbling Rashomon Gate, pounded by lashing and unrelenting rain, is an extremely evocative setting to tell the story from. And the forest where the crime, whatever it was, takes place often takes on a haunting and almost mythic atmosphere. Full of striking photography it looks wonderful. The way the images flow together is extremely expressive, especially when coupled with the use, or at times absence, of score music. The scene at the beginning where the woodcutter is walking through the forest, made up of a kaleidoscope of images and shadows set to a beautiful piece of music is a stunning scene, just drawing you in early on. Indeed his direction is notable at creating numerous tones to go along with the action, whether it be barbaric, contemplative or even some dark slapstick comedy. He also uses very powerful, snappy editing to really move the film along at a great pace.
While there is a lot to admire here, for me overpowering everything was the performance of Toshiro Mifune as the bandit. He is just incredible. His bandit is unpredictable and crazed, and just demands your attention any time that he is on screen. He's a character full of swagger and bravado, but with little substance; a man just desperate to live up to his billing as the most dangerous and vicious bandit around. While he is on trial he is like a wild, untamed beast. The rest of the cast too supply strong showings, even if the melodramatic and heightened acting style takes a little bit of adjusting to. This is particularly true for Machiko Kyo who portrays the wife of the piece. Once you get past her hysterical rantings there is a rich, mysterious and mesmerising individual to be found. Depending on which version of the story we are presented with, she is the one who varies most in terms of character. At times pure and virtuous, at others insidious and vicious; switching from an innocent victim to manipulative temptress.
Whatever else his films are about Kurosawa always seems to look at the human element and here is no different. Though this time out it's a rather damning verdict of humanity. We lie, we cheat, we steal. In short we suck! The witnesses all present their own versions of events, and each time they place themselves in the best light (even when it means claiming they are the killer) and make themselves look strong, in the process making those around them appear pathetic and weak. And then the woodcutter reveals what he saw, what I took to be the truth, or at least as close as we are going to get. His story shows the weakness and cowardice of all involved. Particularly revealing is how after building up an apparently epic battle, the woodcutter shows what a pathetic tussle it really was. Their 'battle' descends into slapstick with both men seemingly too afraid of death to be able to fight properly, running and stumbling about like scared little boys. So humanity, not looking too good is it? At least until a last minute piece of redemption when the woodcutter selflessly agrees to adopt an abandoned child. In the grand scheme of things it's a small gesture, but one which provides a chink of light, a little piece of hope for us.
This is a film that is arguably right up there amongst the most influential of all time. Indeed it's story was so revolutionary and influential that the film has become shorthand for this type of tale (the Rashomon effect), and has been used numerous times both in film and TV – The Usual Suspects, Hero and episodes of The Simpsons, The X-Files, Leverage, Star Trek: The Next Generation and CSI amongst many others I'm sure all used its structure as inspiration.
Conclusion – A terrifically constructed and realised tale from Kurosawa. With powerful performances, scripting and direction it is richly deserving of its standing as one of the great classics of cinema.