When Akira Kurosawa made Rashomon (1950), he was a forty-year-old director working near the beginning of a career that would last fifty years, produce some of the greatest films ever made, and exert a tremendous and lasting influence on filmmaking throughout the world. Rashomon emerged from the journeyman period in his career after he temporarily left Toho, the studio where he’d begun and where he would ultimately make most of his films. During these years, 1949 to 1951, he made movies for Shochiku, Shintoho, and Daiei. Daiei was somewhat reluctant to fund Rashomon, finding the project to be too unconventional and fearing that it would be difficult for audiences to understand. Those fears proved to be groundless—the picture was one of Daiei’s best moneymakers in 1950.
But the film is unconventional, even radical in design, and these attributes only helped to skyrocket it to international fame at a time when art cinema was emerging as a powerful force on the film circuit. With great reluctance, Daiei permitted the film to be submitted for overseas festival competition. Winning first prize at the prestigious Venice Film Festival in 1951, Rashomon announced Kurosawa’s talents, and the treasures of Japanese cinema, to the world at large. The rest, as they say, is history.
Like most of Kurosawa’s films, Rashomon, based on two stories by Ryunosuke Akutagawa, is set during a time of social crisis—in this case, the eleventh century in Japan, a period that Kurosawa uses to reveal the extremities of human behavior. As the picture opens, three characters seek shelter from a driving rainstorm (it never sprinklesin a Kurosawa film!) beneath the ruined Rashomon gate that guards the southern entrance to the imperial capital city of Kyoto. As they wait for the storm to pass, the priest (Minoru Chiaki), the woodcutter (Takashi Shimura), and the commoner (Kichijiro Ueda) discuss a recent and scandalous crime—a noblewoman (Machiko Kyo) was raped in the forest, her samurai husband (Masayuki Mori) killed by either murder or suicide, and a thief named Tajomaru (Toshiro Mifune) arrested.
When Rashomon played in Venice and then went into international distribution, it stunned audiences. No one had ever seen a film quite like this one. For one thing, its daring, nonlinear approach to narrative shows the details of the crime as they are related, through the flashbacks of those involved. Kurosawa gives us four versions of the same series of events, through the eyes of the woodcutter, the thief, the woman, and the spirit of the husband, each retelling markedly different from the others. Kurosawa’s visionary approach would have enormous cinematic and cultural influence. He bequeathed to world cinema and television a striking narrative device—countless movies and television shows have remade Rashomon by incorporating the contradictory flashbacks of unreliable narrators.
But Rashomon is that rare film that has transcended its own status as film, influencing not just the moving image but the culture at large. Its very name has entered the common parlance to symbolize general notions about the relativity of truth and the unreliability, the inevitable subjectivity, of memory. In the legal realm, for example, lawyers and judges commonly speak of “the Rashomon effect” when firsthand witnesses confront them with contradictory testimony.
Furthermore, the film’s nonlinear narrative marked it as a decisively modernist work, and as a part of the burgeoning world art cinema that was transforming the medium in the 1950s. With Rashomon and his subsequent movies, Kurosawa came to rank among the leading international figures of that cinema, in the company of Ingmar Bergman, Federico Fellini, Michelangelo Antonioni, and Satyajit Ray. Like their work, Rashomon was more than just commercial entertainment. It was a film of ideas, made by a serious artist, and with a sophisticated aesthetic design.
“Style for Kurosawa is not an empty flourish. The bravura designs of his films are always carefully motivated.”
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