Guys, I know this is a classic and I GET it. I get the ramifications on narrative structure, but this movie didn't do it for me. My least fave kurosawa of the half dozen or so I've seen. I don't know what to say. Feel free to say livid things online at me and try and change my mind. But probably you will not change my mind.
Of my many viewings of "Rashomon", this proved the most absorbing and magnetic. Kurosawa's work with his DP, Kazuo Miyagawa is a sight to behold especially as far as the lighting is concerned. There is so much dramatic power in Kurosawa's use of light and his close-up and just as much power in the film's exceptionally monumental score and the lead performances of Mifune and Kyô, both of whom are larger than life.
plotnya banyak tapi sampai akhir ceritanya ga terungkap. Kebohongan yg ujung-ujung berujung pada suatu kebenaran tentang manusia, yaitu kita semua akan menjadi subjektif tentang keadaan demi kesejahteraan diri sendiri. Gila sih aktingnya Toshiro Mifune bagus bgt, salah satu bagian terbaik filmnya.
Kurosawa tackles the different faces truth can have and what man is capable of doing when stripped of power and thrown off his pedestal. This is a sort of narrative that has been done to death throughout the decades, but I firmly believe this is the best example of it. The poetry in motion that Kurosawa brings to the screen is in full display here.
A visual and philosophical tour-de-force, Rashomon offers a moral manifesto against relativism (cognitive and moral) but through a relativist storytelling structure (there is no privileged, Archimedean pov). The common denominator is a hurricane performance by Mifune balanced by the repentant woodcutter (Shimura) and the categorical imperative that a (baby's) life deserves to be lived and to flourish. Unsurpassed!
While most of the time we hold truth as something self-evident, Rashomon lightly takes one to the point where "truth" can also be nothing more than just a dream or self-created reality. A place where a single happening will inevitably depend on the inner world of the one gazing at it. Remarkable movie that gives more than just a single thought on the complex world of feeling and human perceptions.
A thoughtful and visually poetic exploration of some of mans' foibles not least the impossibility of a fidelity of memory, truth and lies. Kurosawa directs with clarity if over-emphasis in places (notably the elongated fights and restoration of a hope at the conclusion). Hayasaka's Ravelian score and Miyagawa's dappled cinematography soften the edges of so-called reality. A film with long tallons.
Kurosawa, in unparalleled style, provides us with a study on how one story can have such diverse and differing accounts, all of them inaccurate to a certain extent, subtly making the viewer question the very nature of truth. Full of rich characters and an intricate plot overflowing with philosophical undertones, this is a humble film about story, with one that'll remain in the back of your mind. Essential.