Review of Rashomon (1950) by Bruno S — 21 Jan 2011

Once again, Kurosawa's strength is his remarkable ability to fit so many round characters into an eighty-eight-minute film. Each character, at least initially, gives us reason to doubt his/her credibility, and their flaws are as interesting as their admirable qualities.

The story relates the rape of a woman and her husband's murder through the eyes of four different characters; obviously each account differs. The basic premise of the film suggests that human perception is ultimately limited by our arrogance, prejudice, and the frailty of our memory. This isn't a post-modern statement about the immutability of truth; everything seems rooted in character. Kurosawa wants us to walk away from the film without knowing what "really" happened. Except we're never given a solid reason to doubt the last story told. The man strips himself of arrogance and prejudice, and his recollection of details belies any frailty of memory. So, yes, I do think I know what really happened. I see this as a mild inconsistency in the film's message.

Additionally, there is a small character who plays quite a significant role in the conclusion, yet I wondered where s/he came from. What is more, I often thought the moments of silence were too drawn out; what needed to be accomplish was ... five seconds ago.

Overall, Kurosawa is clearly a superior filmmaker, one who changed the medium forever, but this film would be the highlight of any other director's repertoire, not his.