If you have never seen this film, you will come to it and find it very familiar. That's because Rashomon has become part of the world's consciousness & lexicon. It's story of an action involving several participants, each with their own differing version of the truth, has been elaborated and riffed-on by many others since it appeared on the world's stage in the 50's.
So, it is an old movie, often imitated. And yet, I found it fresh and involving and well worth a look. As Robert Altman says on the DVD extras, many of the camera techniques, particularly shooting directly at the sun and allowing lens flare, were taboo-breaking and radically new when this film appeared. Now, that is put in as a joke in Shrek.
So you come to Rashomon not to be overwhelmed with its "newness" and the refreshing change of first encountering Japanese cinema and acting styles. No, you come to Rashomon as to an old master, to appreciate its lasting impression of the universality of human foibles and passions and the illusory nature of truth.
A rape and murder have occured in a woods. We hear and see different versions of the same encounter. Who is telling the truth? Is there an absolute objective truth, or does every teller of the tale inherently only tell the truth as he sees it? And if everyone is a "liar" and there is no absolute truth, what is the point of anything?
Don't let the heavy questions mislead you. Rashomon moves quickly, fluidly and gracefully, telling its story with economy and, to me, humor. Much is made of the dark philosophy underneath the theme, but I find great sardonic humor in the film. One example, the fight between the thief & the man as related by the woodcutter...it is messy and unheroic, sweaty, breathless and awkward and the antithesis of the stylized balletic sword fights found in, even Kurosawa's, samurai movies.
In the end, as familiar and much copied as Rashomon has been, it is still like no other film. It is unique, and the result of a master filmaker's vision, unified and beautiful and unforgettable.
** UPDATED NOV-11-2012: ADDED REVIEW OF 2012 CRITERION BLU-RAY **
Criterion's 2012 Region-A Blu-ray of RASHOMON is the result of a 2008 digital restoration of the 1951 Japanese classic. The original negative of the film was destroyed in the 1970s. The next best surviving material is a 1962 35mm print, which was used for this restoration. The print was digitally scanned at 4K resolution in 2008, followed by a frame-by-frame digital cleanup. The result, as presented on the 2012 Blu-ray and its corresponding DVD, is an improvement in terms of better-looking black and white level, less flickering, a little more picture on all four sides of the screen (about 30 pixels more on the left and right sides, and less on top and bottom), and, of course, more details on the high-def picture on the Blu-ray. The cleanup of the blemishes and scratches yielded a very nice picture, but then the old 2002 Criterion DVD looks pretty clean already. One major improvement from the old DVD to the new Blu-ray/DVD is the audio. As I wrote in my original review, the 2002 DVD sounds very hissy. The 2012 Blu-ray/DVD, however, has that remedied big time. I uploaded a video clip comparison (see comment section for the link) so you may listen for yourself. The new editions have very little hiss. But the underlying audio is still showing its age. Dialogs are still not the crispest, even though a high bit-rate LPCM 1.0 is used.
The 2012 Blu-ray & DVD include all the old bonus features, and a booklet with all the essays found on the 2002 DVD. On the Blu-ray, all the video extras are presented in hi-def 1080i picture, even though the source material seems to be originally in standard-def (hence, upconversion).
Two new bonuses are on the 2012 Blu-ray/DVD. An 16-minute audio-only piece contains a 1961 interview of actor Takashi Shimura by film critic Gideon Bachamann, with Donald Richie serving as the interpreter. And an informative 68-minute featurette reunites many crew members almost 60 years after the film was made, while offering many first-hand details about the making of the film.
** REVIEW OF 2002 CRITERION DVD POSTED APR-02-2002 **
RASHOMON, Kurosawa's classic existential masterpiece, is Japan's CITIZEN KANE. It offers some rather profound insights on the human condition while also being a technical and artistic tour de force. Like KANE, RASHOMON also uses a nonlinear, fragmented narrative to show the multiplicity and unfathomability of human nature. With an engaging murder mystery as its basis, RASHOMON should please film enthusiasts and novices alike.
The restored video transfer on this Criterion DVD edition makes the film look as good as new. Blemishes that used to be on older video releases have been digitally cleaned up. Sharpness and contrast, while not spectacularly good, are excellent (to provide a point of reference, it looks much cleaner than Criterion's SEVEN SAMURAI DVD). The original Japanese mono soundtrack is rather hissy, however. A cleaner English dub track is included, but voice acting is sub-par (actually, in my opinion, terrible; in one instance, it is even out of synch with the action).
The analytical audio commentary by Donald Richie is well-rounded, covering the themes, photography, acting, editing, and music of the film. The booklet includes English tranlations of the two short stories that inspired the film, and an excerpt from Kurosawa's autobiography that pertains to RASHOMON. In a 16-minute excerpt from a Japanese documentary about the film's cinematographer, various camera techniques used in the film are revealed.
This DVD is encoded for Region 1 only. For those who keep track of things like this, Criterion has only made a handful of Region 1 DVDs, which include ARMAGEDDON, BRIEF ENCOUNTER, CHASING AMY, THE DISCREET CHARM OF THE BOURGEOISIE, GIMME SHELTER, THE HIDDEN FORTRESS, HIGH AND LOW, KWAIDAN, NOTORIOUS, THE PASSION OF JOAN OF ARC, RASHOMON, THE ROCK, SAMURAI I, II, and III, SANJURO, SEVEN SAMURAI (second printing), THE SHOP ON MAIN STREET, THE VANISHING, and YOJIMBO.
Buy Rashomon (The Criterion Collection) (1950) Now
Somewhat curiously, Japanese critics were not enthusiastic about RASHOMON when it was released in 1950 Japan. Today, however, RASHOMON is generally considered to be the film that introduced both master director Akira Kurosawa and Japanese cinema to the west; it is also often cited as the film that prompted The Academy of Motion Picture Arts and Sciences to create an award for Best Foreign Language film. It is widely regarded as a masterwork of world cinema.
Set in 12th Century Japan, the film's premise is at once both very simple and very complex. A man is found dead in a forrest, and several people are brought forward to give testimony in the matter. In some respects their accounts agree--but in numerous others, some obvious and some very subtle, their stories differ. As each character gives his or her version of events, the various differences pile higher and higher, leaving the viewer to wonder at the motivations involved.
Has each person simply interpreted the same facts in different ways? Do they deliberately lie in order to protect themselves? Are the differences in their stories deliberate or subconcious? The film offers no easy answers. Some have criticized the film for seeming to state that there is no such thing as ultimate truth, but RASHOMON is more complex than this: it is essentially a meditation on our inability, be it deliberate or unintentional, to reach more than an approximation of ultimate truth due to the very nature of humanity itself.
Much has been written about the look of the film, which is indeed memorable. Filmed by Kazuo Miyagawa, it presents the forrest as a living, breathing entity; the images are powerful, the editing remarkable. No less so are the performances, which require the various actors to shift in behavior as each person involved gives their own account of the event; this is particularly true of Toshiro Mifune, a frequent performer in Kurosawa films, and actress Machiko Kyō. But whether lead or supporting player, all performaces are equally astonishing.
The film has been extremely, extremely influential over the years, and as such it no longer has quite the same "shock of the new" that it had for audiences of the 1950s; nonetheless, this is director Kurosawa working very close to the height of his power, and while he would create other films that equalled and bested RASHOMON, it remains among his masterworks. The Criterion edition is quite fine, offering a near-pristine print with your choice of subtitles or dubbing (the former is recommended) and several memorable extras. Strongly recommended for fans of world cinema.
GFT, Amazon Reviewer
Read Best Reviews of Rashomon (The Criterion Collection) (1950) Here
A man is dead, a woman was raped, and that's all that can be definitely said. Somebody has committed murder, but nobody knows whodunnit.
And that's the basic plot of Akira Kurosawa's "Rashomon," a hauntingly pessimistic look at how the "truth" can be warped and changed by different people's perspectives. It's a magnificently eerie piece of work, filled with suspense and some really astounding acting -particularly from Toshiro Mifune as a laughing bandit.
At the Rashomon Gate in eleventh-century Japan, a man (Kichijiro Ueda) takes shelter with a priest (Minoru Chiaki) and a woodcutter (Takashi Shimura) during a rainstorm.
The woodcutter is depressed and the priest is horrified, over a recent crime: the vicious bandit Tajômaru (Toshirô Mifune) was arrested for murdering a man named Takehiro (Masayuki Mori) and raping his wife Masako (Machiko Kyô). But when taken before the police, Tajômaru claims that he had his fun with the woman and killed her husband honorably in a fight.
But Masako begs to differ; she claims to be the victim first of the sadistic bandit, then of her cold-hearted husband, whom she says she stabbed. And when a medium calls up the spirit of Takehiro, he claims that Masako was unfaithful, asking the bandit to murder him, then spurned by Tajômaru. Her actions drove Takehiro to suicide. But the woodcutter himself claims to have seen the altercation -and his version is wildly different from them all.
During the filming of "Rashomon," director Akira Kurosawa stated that the film is a reflection of life, which doesn't always have clear meanings. The same could be said of truth. Questions are raised by the events of "Rashomon," but given no easy answers -sometimes no answers at all (my biggest question was how Masako's gown stays so white if she's always weeping on the ground).
Are Kurosawa's insights dark and depressing? In a fascinating, hypnotic way... yes. But while calmly pointing out the ability of human beings to lie even to themselves, he acknowledges that there's good in there too. The illusions and innocence of the young priest are stripped away, yet the knowledge of how despicable people can be is tempered with the knowledge that "real" truth isn't necessary to have goodness.
And Kurosawa's directorial skill is no less striking -light and shadow whirl and dance in a frankly beautiful woodland setting, serving as a pretty backdrop for some very ugly acts. Kurosawa was even brave enough to touch on the unique idea of having the deceased testify. The spinechilling seance scene, starring a downright spooky, stark-faced Fumiko Honma, is a haunting classic scene.
And the masterful fight scenes deserve an extra shout-out -they reflect the person telling the story. Tajomaru's are more stylized and choreographed, while the woodcutter just sees two freaked-out guys rolling and staggering with swords.
Toshirô Mifune chews the scenery with gusto as the barbarian bandit, especially with that crazy hyena laugh. Machiko Kyô initially seems to be overacting, until you see how unhinged her character has become, and Masayuki Mori does a pretty solid job for a guy tied to a tree. Minoru Chiaki and Takashi Shimura add an extra dimension as the innocent young priest and the tormented woodcutter.
Gloomy, thought-provoking and ultimately quite freaky, "Rashomon" still defies conventional filmmaking, brilliantly crafted and exceptionally directed. And that's the truth.
Want Rashomon (The Criterion Collection) (1950) Discount?
Rashomon was the first movie where Akira Kurosawa really found his filmmaking voice.
Visually, Rashomon is stunning. The techniques used by Kurosawa were years ahead of their time. The outdoor filming, especially in the forest, gives the film an authenticity that you just can't get on a soundstage.
As far as the story goes, there is enough ambiguity to keep people discussing this movie for decades. Is it about lying? Distorted memories? People lying to themselves? Selfishness? Or is it about all of the above?
Kurosawa's story of a murder told from four different points of view that come across with distinctly different details is captivating. In the end we still aren't 100% sure exactly what happened, although we have a fairly good idea. Toshiro Mifune is, as he often is, over the top as the bandit. But being Toshiro Mifune over the top works extremely well. It comes across as genuine, and not just hammy acting. Mifune would take this performance and refine it further in Seven Samurai just four years later.
As for the Essential Art House DVD, it is the Criterion version without the extras. The picture quality is quite good, as the contrast is just about perfect, and the picture has a sharpness and clarity that is very pleasing. The sound doesn't fare quite so well, as there is a lot of hiss and crackling to be heard, but not so much as to be a deal breaker. The voices come through clearly, as does the rain and other forest sounds.
Why buy this version? Price. It is roughly half the cost of the fully loaded Criterion release, so that makes it a lot easier to make the purchase. Yes, the extras on the full Criterion version are quite good, but if you're on the fence about buying the movie this would be the one to get (especially if price is a major consideration).
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I've long waited for the release of the orginial Halloween series to Blu Ray, if this is any indication of what the quality will be for all of them you'll be disappointed. The picture quality is terrible. I have H20 on DVD and the picture is better on that! It's a dark transfer and very grainy, nothing looks high definition about it whatsoever. It also has no special features, not even a trailer.
