Review of Rashomon (1950) by Joshua K — 08 Oct 2008

Rashomon is one of the first Japanese language films I ever watched in its entirety (excluding anime). At only ninety minutes long, it was just long enough to not only hold my attention, but challenge the way I look at film.

I have seen many different versions of Rashomon's style, but nothing comes close to the execution of Kurosawa's masterpiece. Simply put, Rashomon tells the same story (in the form of a Japanese courtroom drama) from four points of view.

All of them seem credible and all of them have logical fallacies. This is fascinating, because it so accurately comments on the human mind, as we are always searching for the truthful answer to any one situation.

Our perspective is never the truth, though. Truths become obscured by opinions and morals, and such is our way of evaluation. Kurosawa works his actors and his camera to compel us of this viewpoint. Every performance is convincing and three-dimensional â?? not to mention surprisingly emotional â?? as every shot is beautiful and real.

Kurosawa takes no liberties in telling the story in the way it should be told. In many ways, I like Rashomon more than Seven Samurai. It is more digestible, has a better female performance, and offers an insight to the human mind that captivates me a little more than what Seven Samurai has to offer.

I appreciate the simplicity in the story it tells while at the same time being completely involved in the complexity that is inherent. I admit, though: I am a little biased due to my fascination with any story told with interesting uses of narrative.

(My favorite film is Memento.) In any case, Rashomon merits at least a few viewings and is a timeless classic by any standard. This is not the film that Akira Kurosawa is remembered for, but it is what put him on the map and it is very easy to understand why: he gets it.

A note: Rashomon is being remade and I am all for it because it serves as a gateway to more people seeing this version. (Color could not hurt, though.).