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.
What else is there to say about the brilliance that is Rashomon? How am I supposed to sum up my thoughts on it in only 420 characters? I've seen several of Kurosawa's films, but this was my first time watching Rashomon. It's amazing to see how influential it is. Everyone from Tarantino to Bergman has been influenced by it in some way. After over 60 years this film is still incredibly moving and powerful.
Sur la fragilité et la relativité du témoignage visuel, oculaire, verbal, l'ambiguïté affirmée de toute vérité, les chausse-trappes de la duplicité, un chef-d'oeuvre absolu en forme d'inflexible parabole universelle qui reste aussi un superbe monument de cinéma aux foudroyantes qualités techniques. www.cinefiches.com
Setting aside everything that's been said about the themes about lies and memories in this film, I thought the way the characters acted based on pride and public appearance tied class, gender, etc. was honestly a really interesting part of the film. I saw someone else mention that they wish things hadn't been tied up cleanly, but I think the film is more balanced for admitting that decency does exist, if ambiguous.
If this was a debut film it would rank among the greatest debut films of all time. The feel of a debut film is not a slam, it's not meant as one in any case. It sort of feels like one, still, in the simple nature of the story. And uses tricks that I feel would be at home in a director's debut film, such as the non-closure at the end. As usual there is exellent use of weather to grant texture.