Rashomon (1951)

Rashomon (1951)
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This landmark film is a brilliant exploration of truth and human weakness. It opens with a priest, a woodcutter, and a peasant taking refuge from a downpour beneath a ruined gate in 12th-century Japan. The priest and the woodcutter, each looking stricken, discuss the trial of a notorious bandit for rape and murder. As the retelling of the trial unfolds, the participants in the crime -- the bandit (Toshiro Mifune), the rape victim (Machiko Kyo), and the murdered man (Masayuki Mori) -- tell their plausible though completely incompatible versions of the story. In the bandit's version, he and the man wage a spirited duel after the rape, resulting in the man's death. In the woman's testimony, she is spurned by her husband after being raped. Hysterical with grief, she kills him. In the man's version, speaking through the lips of a medium, the bandit beseeches the woman after the rape to go away with him. She insists that the bandit kill her husband first, which angers the bandit. He spurns her and leaves. The man kills himself. Seized with guilt, the woodcutter admits to the shocked priest and the commoner that he too witnessed the crime. His version is equally feasible, although his veracity is questioned when it is revealed that he stole a dagger from the crime scene. Just as all seems bleak and hopeless, a baby appears behind the gate. The commoner seizes the moment and steals the child's clothes, while the woodcutter redeems himself and humanity in the eyes of the troubled priest, by adopting the infant. ~ Jonathan Crow, Rovi

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Starring:
Toshiro MifuneMasayuki Mori, (more)
Director(s):
Akira Kurosawa
Format(s):
DVD
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Synopsis of Rashomon

This landmark film is a brilliant exploration of truth and human weakness. It opens with a priest, a woodcutter, and a peasant taking refuge from a downpour beneath a ruined gate in 12th-century Japan. The priest and the woodcutter, each looking stricken, discuss the trial of a notorious bandit for rape and murder. As the retelling of the trial unfolds, the participants in the crime -- the bandit (Toshiro Mifune), the rape victim (Machiko Kyo), and the murdered man (Masayuki Mori) -- tell their plausible though completely incompatible versions of the story. In the bandit's version, he and the man wage a spirited duel after the rape, resulting in the man's death. In the woman's testimony, she is spurned by her husband after being raped. Hysterical with grief, she kills him. In the man's version, speaking through the lips of a medium, the bandit beseeches the woman after the rape to go away with him. She insists that the bandit kill her husband first, which angers the bandit. He spurns her and leaves. The man kills himself. Seized with guilt, the woodcutter admits to the shocked priest and the commoner that he too witnessed the crime. His version is equally feasible, although his veracity is questioned when it is revealed that he stole a dagger from the crime scene. Just as all seems bleak and hopeless, a baby appears behind the gate. The commoner seizes the moment and steals the child's clothes, while the woodcutter redeems himself and humanity in the eyes of the troubled priest, by adopting the infant. ~ Jonathan Crow, Rovi

Theatrical Feature Running Time:
88 mins

Complete Cast of Rashomon


Director(s):
Akira Kurosawa
Writer(s):
Shinobu HashimotoAkira Kurosawa
Producer(s):
Jingo Minoura
Rashomon Awards:
  • 1951 - National Board of Review - Best Foreign Film
  • 1951 - National Board of Review - Best Director
  • 1951 - Venice International Film Festival - Lion of San Marco for Best Film
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    John C.

    No movie has been pillaged more than this one and not one of its imitators has come remotely close to being as insightful about the nature of man and the nature of truth. Tremondously exciting not for its swordfights, but for its twisting narrative that has you continuously questioning the characters' true motives. One of my top 3 of all time.

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    Triston M.

    Rashomon, based on Ryunosuke Akutagawa's "In A Grove," is a great film that deals with the human inability to know truth. Made around the time of the WWII war trials in Japan, this was Kurosawa's commentary on that difficult time in history. Not for those who expect an action-packed samurai film, it is much more of an intellectual quandary than an action film. The cinematography is excellent and there are some truly breathtaking scenes as well. If you enjoy this movie, I would recommend watching the film, or vice-versa.

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    Robert F.

    Slow moving at times but very thought provoking with a meaningful conclusion. Watch for use of light and shadow. It begins with a fantastic dolly shot.

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