we thought the same think..^ ^
Kurosawa's style is indeed something to behold, but man did he have Something to Say with this one. The whole framing device is frankly disrespectful to the viewer, not to mention the fact that even without it, the whole conceit isn't nearly as insightful as so many have said over the years. 3/5
this was my first experience with Kurosawa. the black and white was skillfully used, especially with the direct-sun scenes. the story was paced wonderfully too by using different perspectives of the same crime. the scene with the medium was very freaky. I don't think I'll shake that scene off for a while, and it was very enjoyable. I can't wait to see more Kurosawa. This film is a great exploration of men's faults
This was so goddamn haunting while also clean and well told, for what it was. The tone was especially exciting to watch unfold itself until the very end which is wonderfully wrapped.
Ford: “You really like rain”. Kurosawa: “Yeah.” Welles said a film is never really good unless the camera is an eye in the head of a poet. Rashomon, this landmark of Nippon film, is poetic cinema, an exemplar of cinematography with Kane. In its kaidan - ambient, celestial, fierce - is also poetic justice: its human palpitations clouded by deceit, pettiness, hypocrisy and cowardice, clashing with feudal codes of honour and fealty; the ruins of Rashōmon gate embodying society thus torn by prejudice and strife, in a bleak yet redemptive sermon.
(rewatch) beautifully filmed and artfully structured. the story beneath the dynamism and style is a pretty ugly one; i forgot how abysmal the gender politics were. this simmers down a bit in the final chapter, opting instead for full-blown misanthropy (which proves more compelling, for better or worse). loses some of its mojo with a corny ending. deservingly canonical, but not a film that warms my heart, so to speak.
Um grande filme, narrativa original, estudo sobre a psico do ser humano; peca pelo final forçado, redundante e a rojar o ridículo. As imagens falam por si, o final de um filme, de uma narrativa, é aquilo que o espectador interpreta, não aquilo que se quer que se interprete. Mesmo que o objectivo seja o de ressalvar que a única interpretação possível do filme não fosse uma sequer. A rever, no entanto. Mixed feelings..
I know it shouldn't really affect the artistic merit of the film (which, by the way, was fantastic, apart from Mifune's scenery chewing), but does Kurosawa hate women?
Kurosawa you bastard! I came in expecting something a little less than "Seven Samurai"; came out impressed in a whole other way. The narrative sequences are brilliant in of themselves, but juxtaposed...I did not think much of the ending, though it did give the film some thematic continuity, I suppose.
Rashomon is extraordinarily unique as a concept, and perhaps it is this striking attribute that makes it an undisputed masterpiece. The subjectivity of perception with respect to veracity must not be overlooked under any circumstance so as to surmise the most befitting conclusion. The complete review is present at: http://apotpourriofvestiges.blogspot.com/2012/02/potpourri-of-vestiges-review-by-murtaza.html