Write descriptive essay about Rashomon movie 1950, write an essay of at least 500 words on Rashomon, 5 paragraph essay on Rashomon, definition essay, descriptive essay, dichotomy essay.
Crime, Drama, Mystery
IMDB rating:
Akira Kurosawa
Toshirô Mifune as Tajômaru
Machiko Kyô as Masako Kanazawa
Masayuki Mori as Takehiro Kanazawa
Takashi Shimura as Woodcutter
Minoru Chiaki as Priest
Kichijiro Ueda as Commoner
Fumiko Honma as Medium
Daisuke Katô as Policeman
Storyline: A priest, a woodcutter and another man are taking refuge from a rainstorm in the shell of a former gatehouse called Rashômon. The priest and the woodcutter are recounting the story of a murdered samurai whose body the woodcutter discovered three days earlier in a forest grove. Both were summoned to testify at the murder trial, the priest who ran into the samurai and his wife traveling through the forest just before the murder occurred. Three other people who testified at the trial are supposedly the only direct witnesses: a notorious bandit named Tajômaru, who allegedly murdered the samurai and raped his wife; the white veil cloaked wife of the samurai; and the samurai himself who testifies through the use of a medium. The three tell a similarly structured story - that Tajômaru kidnapped and bound the samurai so that he could rape the wife - but which ultimately contradict each other, the motivations and the actual killing being what differ. The woodcutter reveals at Rashômon that he ...
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A Film Put In Perspective
Rashomon was a great achievement of the time and still holds a lot of its great cinematic elements today. It is a movie that tells a story and it tells it very well. The traditional style of the movie seems a bit odd for the taste of most Western Audiences today. This has a lot to do with the long rolling scenes and very few cuts at times. This can be looked at as boring to some people and that can detract from the overall experience of the movie itself. The actors made the story very believable and worked with the scenery and natural settings very well. The whole unreliable narrator aspect to this movie made it very interesting because there are very few movies, even today, which don't give you a direct aspect of what has happened. A lot of the cinematic elements that are present in Rashomon are ones that have been taken for granted today and are sometimes hard to point out. From the set and on site locations to the actors and the story itself this film was very well made and is one of the more enjoyable foreign films around.

The way the film was shot and how it progressed is not suitable for all audiences. The most appropriate audience, for enjoyment of the film, is the one that is familiar with Japanese film or Asian film in general. A lot of the scenes have too much build up for the typical American Audience. A lot of the great aspects of the film will be missed by people who do not understand the genre well. That being said this movie is very enjoyable when you are in the mindset of who the film was originally made for. It has a very interesting story and it never gives a resolution to the story only different aspects of what happened. The non-resolute ending and the lengthy performances are not what most Americans would prefer, but the ones who can put this film in perspective will enjoy it.
Nested, Folded, Parallel Narrative
Spoilers herein.

Superficially about truth, this is more fundamentally about the nature of nested and floating narrative.

Kurosawa is one of three men who invented film, and this is his most influential one. Much is made of the construction of the story, which you can read elsewhere. I'd like to focus here on what I think is the rarest of Kurosawa'a abilities: the way he changes the eye of the camera -- and the composition of the world it creates for us -- for each of the narratives.

Some are impressionistic; some flat and full of contrast; some deep. Some are composed around people, some around the environment with people in it, some around fleeting motion. Sometimes the words are the organizing principle, sometimes images.

I know other directors who can do this once within a film: to twist the consciousness of the viewing eye to match the perspective of the narration, even some capable of a dual view within and without. But I know of no one else capable of doing so multiply within the same film and with such obvious link to the story.

The DVD is astonishingly clear. It has an introduction by Altman which says nothing interesting; but watch his hands. The DVD has a commentary which is horrid -- just the sort of talky vapidity about apparent insight the film criticizes!
Not the classic i was expecting
The word rashomon has been used to describe quite a few films i have seen in the last couple of years . So i decided to watch the the film where the word originates from . Only two weeks ago i watched Akira Kurosawa's Seven Samarai for the first time and i was really impressed so did Rashomon have the same affect on me? Set in the 11th century, the movie opens with a woodcutter, a priest, and a commoner sheltering from torrential rain in an immense dilapidated wooden structure. This structure, known as Rashomon gate, marks one of the approaches to Kyoto. As the three men wait for the weather to improve, they talk about a legal proceeding stemming from an incident involving a possible murder. A samurai was found dead, and the circumstances surrounding his death are shown from four conflicting points of view.

I'm pretty sure no matter how many times you watch this film, Akira Kurosawa never gives enough information in the movie to figure out the truth about what took place on the day of the samurai's death.

But without trying to look too deeply into what this film is about , i feel "Rashomon" is about searching for some kind of absolute truth—it's about how differently people perceive the same external event.

Do i feel this film deserves the status it quite clearly has in movie making history ? well , yes and no. Quite clearly this is the first time the same story is told from the point of view of more than one person and that has spurned countless classic movies and for that it deserves it's place in history but as a film in it's own right it just didn't do it for me.

Some of the overacting annoyed me . The Constant laughing by the bandit and the commoner was both confusing and unnecessary and i found the lack of a conclusion frustrating but what i will say is that Just like " Seven Samurai " it is beautifully shot.

Incidentally when Rashomon was being made , the cast approached Kurosawa en masse with the script and asked him, "What does it mean?" The answer Kurosawa gave at that time and also in his biography is that "Rashomon" is a reflection of life, and life does not always have clear meanings.

Make of that what you will but at least i wasn't the only one confused! 6 out of 10
Jidaigeki Noir
There are only a handful of films that so permeate the film culture that they are loaded with so much expectation, having influenced so much, that it's impossible to see the film for the film itself. Kurosawa has made quite a few of these films, of which "Rashômon" (1950) is, for me, the hardest to approach for the very reason that it seems to penetrate everything.

The narrative is, of course, legendary not only how it is executed but how it has influenced art ever since. The untrusted narrator was hardly a new invention, even in film, since didn't noir explore its possibilities in depth? But it is never the novelty of the idea rather than its execution and application that counts in the end. And not that I think it's even remotely interesting and important who did what first here - the reason I mention noir is its vicinity to "Rashômon", which can be aptly described as jidaigeki noir. This is what Kurosawa did so well, taking a genre and then reshaping it, often revolutionizing it in the process.

Perhaps there's a need to moralize towards the end that doesn't seem to come so naturally, since to some extent the drive of the disoriented narratives works toward a rather more pessimistic solution, yet on the other hand it's wise to have a counterpoint that actually gives some sense of closure. And if one yearns for pessimism, Kurosawa gives that amply in his last epic.
A Kurosawa masterwork
Akira Kurosawa's Rashomon is a film that works like a Japanese Alfred Hitchcock suspense thriller, though it is a riveting suspense thriller it has a different plot that even though is suspenseful that Hitchcock never used a plot like this. It is about the aftermath of a murder and the many different points of view of what they think really happened. Kurosawa uses a cast full of unfamiliar people to us (in other words familiar to the people of Japan)which includes Toshiro Mifune in the title role as a samurai bandit accused of murder, and Takashi Shimura as a middle aged man who finds all of the evidence to the scene of the crime just a few days after the murder happened. This was a well executed film that really made me want to see Kurosawa films a lot more often because of how great this movie really was.
Kurosawa, do I need to say more
Kurosawa tells a story four times through different characters. The characters tell the story different four times. In flash-backs, all as the characters tell them, we see the stories. Are they lying, are they all telling their own truth or is there someone who tells THE truth? The way this is handled by Kurosawa is absolutely masterful.

Of course, his direction is great. Together with cinematographer Kazuo Miyagawa they do a tremendous job with the atmosphere in the woods. With perfect light angles it looks beautiful.

A real Japanese classic.
The film that introduced western audiences to Japanese cinema
While not my favourite Akira Kurasawa(for not only Japan's greatest director, but one of the finest directors there was) film, like Seven Samurai closely followed by Ran, Rashomon is still a fantastic film. No Kurasawa film is the same without great scenery and cinematography, and Rashomon is no disappointment in that regard. The camera is always moving but never feels like too much due to how subtly composed they (and the editing) are, and the scenery especially the beautifully lit jungle is just as striking, not as epic as Seven Samurai but still making its mark. The music, though I may prefer Ran's score when it comes to scores for Kurasawa's films, is always fitting with the mood and atmosphere of the film, and with its exploration of the relativity of truth the four accounts of the woodland encounter between a bandit and a wealthy couple is written in a compelling and completely credible manner. Kurasawa's direction as ever is superb, as are the performances of Machiko Kyo and Toshiru Mifune. Overall, a truly remarkable film. 10/10 Bethany Cox
Kurosawa's differing interpretations
Akira Kurosawa's Rashomon for the time would had looked like an experimental film about unreliable narrators and recounting an incident through different viewpoints and flashbacks.

In 17th century feudal Japan, some men take shelter from the rain they discuss a murder which took place recently. A notorious bandit (Toshiro Mifune) catches a glimpse of a woman's face (Machiko Kyo) travelling with her wealthy samurai husband (Masayuki Mori) and pursues them both. The husband does battle with him and is killed with his body discovered by the woodcutter.

At the bandit's trial, all the witnesses which includes the victim speaking through a medium give different accounts of what actually happened that day, a lot of it is contradictory.

The film shot in black and white is far from the historical sagas the director was known for, it is a simple story with a small cast that leaves you flummoxed with the different perspectives regarding the murder. Maybe Kurosawa was making a point about the justice system where people can see the same incident and come to different conclusion as well as indirectly wanting to show themselves in a better light.

The film is thought provoking and for Kurosawa a relatively short one but it has aged, with the acting looking a tad overcooked. The film also has a strange soundtrack which is basically Ravel's Bolero.
A great work
I first read this when I was a high school student in Japanese class.

I was not able to understand the story at the first but through the class I realized the serious meaning and message from Ryunosuke Akutagawa. The darkness of human beings...

The movie's director Akira Kurosawa is surely one of the best directors in the world.

I'm very proud of this as a part of Japanese nation. This movie affects the world in many ways and in 1964, this is re-directed as "The Outrage" which the story is laid in Mexico.

This is truly an immortal work of Akutagawa and our nation.
- Most of the time, we can not be too honest with ourselves
Master director Akira Kurosawa released his classic RASHOMON in 1950, and became forever Asian cinema's number one represent. It's a mystery-tale playing like a crime-novel told through five different point-of-views and outplaying on three locations (the Rashomon-house, in the forest, and in court), and the film shows the relativity of truth. The scenes from inside the court involves the viewer, all of the characters are placed directly in front of the camera, addressing themselves - it's like we're the jury, deciding what to believe in, and not. Shot in B&W Kurosawa uses the lighting in the forest in interesting ways, the sunlight that shines through the treetops adverts to the hazy story - faces and situations are partly covered in shadow, and light up by sun. What actually happened, and what's fictitious? And Kurosawa uses many techniques to unveil the plot; the dreamy score, the bandit-character (Toshiro Mifune) is a raucous, beastly troublemaker with farcical acrobatics, long sequences with no sound shows Kurosawa's love for the silent era, the non-linear narrative and the uplifting climax. RASHOMON shows different versions of reality, and Kurosawa pioneered using the camera subjectively.
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