Rashomon

Rashomon (1950)

Director- Akira Kurosawa

On the celebration of Akira Kurosawa's 100th birthday (March 23, 1910). Complex, confusing, philosophical, while full of emotion, pain, and cynicism combined with brilliant cinematography and fascinating scene compositions, Rashomon is filmed under an open sky. Director Akira Kurosawa films the sun directly. The cinematography of the film coupled with the use of the elements of rain and the sun create dynamic shot sequences throughout. Kurosawa creates interiors within these exterior shots, composition is diverse, using such techniques as the vantage point of the camera shooting the backs of characters, creating triangles (both visually and in the narrative) through objects intersecting on the screen (swords, trees, pieces of debris). Grouping items in sets of three is a device Kurosawa used often; characters are usually on screen three at a time and he uses three settings (court area, forest, and the shelter). Kurosawa creates multi planed mise en scenes; compositions are layered using the background, foreground, and mid ground of shots.

The film asks several questions. I will address these: What is the truth? Are all humans liars? Is this world hell? Is their goodness?

In Rashomon, a rape and a murder occur. Recounts are given; the viewer questions who is telling the truth. A nobleman and his wife are traveling through the woods when a thief approaches them; his name is Tajomaru (Toshiro Mifune). This thief has a dark reputation. He is suspected of the murder of a woman and her maid. The constable who captures Tajomaru shares this information at Tajomaru’s hearing before a judge. Tajomaru recounts his version of what happened. A priest (Minoru Chiakis) and a woodcutter (Takashi Shimura) are present in court because they had separately encountered the couple in the forest the day of the tragic incident. Kurosawa has all characters seated on the floor in the court shots creating triangular formations. Triangles may symbolize the three different versions of the story that Rashomon gives us or possibly the three sides or perspectives present in this story.

The audience is always placed in positions to judge both figuratively and literally. The judge in the court sequence is never shown. Director Kurosawa positions the camera in such a way that the audience is asked to participate by actively filling the role and are therefore left to judge which of the stories presented is the truth. Kurosawa requires the audience to continuously act as “judge” throughout the film.

The woodcutter recounts his story to the judge. He explains he was searching for wood. He is shown watching from a hidden location as the thief encounters the nobleman and his wife. He recounts to the judge what he observed. His version omits a detail that he would later reveal and by doing so his character would be in question.

“You are a liar!” exclaims the commoner as he learns the woodcutter took a dagger from the murdered nobleman. The woodcutter explains he did not want to get involved and perhaps, by giving additional information to the judge, he may have incriminated himself. The commoner states “All humans lie.” The priest defends the honesty of humanity throughout, but he does not necessarily defend the truthfulness of the woodcutter. The priest also expresses hope and his character is never called into question. His statements in court regarding his passing of the nobleman and his wife in the forest are taken for truth, as is his dialogue under the shelter because he represents truth. Though he does not answer the question: what is the truth, he is human and not a liar. He therefore answers the question: are all humans’ liars?

The other characters have and create more questions while the priest attempts answers. The commoner continues: Is this world hell? Is there goodness? Kurosawa gives us two worlds in which the film exists: the past, bright with sun and the activity of the forest. The present is gloomy, rainy and full of questions about the past. The commoner pushes the priest with his line that: “The demon left Rashomon in fear of man.” He also states: “If men don’t trust each other it [the world] might as well be hell.” The priest refutes that this world is hell by his statement: “I believe in men.” The priest’s faith in man is affirmed through the woodcutter’s actions surrounding an abandoned baby: the woodcutter vows to care for the baby.

The truth of what happened is never revealed, making it all truth, and not. This is the key theme connecting all the versions of the rape and murder. Kurosawa challenges a traditional storytelling myth that states: “Here is the truth!” (False!) Here is what really happened!” (Truth!). Rashomon does not resolve this. All versions of the story could be true. Leaving us with the commoner’s question:

Whose story do you believe?

Other Thoughts:

Director Kurosawa spends several minutes taking us deep into a forest setting that lacks identifiable landmarks. I found the panning, horizontal and vertical shots of trees and the sun to disorient as much as to establish setting.

The traditional story structure of a definitive beginning, middle, and end are rearranged in Rashomon. Time and space are in a state of continuous flux with the use of flashback sequences. My experience was that of never fully knowing where or at what point in the overall narrative sequences fell, leaving me with a disjointed feeling.

Like so many directors, Kurosawa collaborates with actors he is familiar with. Toshiro Mifune (Tajomaru), Takashi Shimura (the Woodcutter), and Minoru Chiakis (the Priest) will be recast in later films including Ikuru (1952) and Seven Samurai (1954).