The Western World's Introduction to Japanese Cinema: 'Rashomon' - PopMatters
stirim.info: Rashomon (The Criterion Collection): Toshirô Mifune, Machiko Kyô , Masayuki Mori, Takashi Shimura Yojimbo & Sanjuro: Two Films By Akira Kurosawa (The Criterion Collection) Not Rated; Studio: Criterion; DVD Release Date: March 26, ; Run Time: 88 minutes; Average Customer .. Shop Online in. Kurosawa classic Rashomon is being remade as a ten-episode series. Having worked with Akira Kurosawa to bring 's Dreams to life, Steven . Keep up to date with all the latest movie news, click here to subscribe to. by Akira Kurosawa. Publication date In English and other languages, 'Rashomon' has become a byword for any situation in which the truth of an.
She interprets the scene mentioned by Sato differently, pointing out that the wife gives herself to the bandit when the sun slowly fades out.22. Kurosawa and Rashomon
McDonald also reveals that Kurosawa was waiting for a big cloud to appear over Rashomon gate to shoot the final scene in which the woodcutter takes the abandoned baby home; Kurosawa wanted to show that there might be another dark rain any time soon, even though the sky is clear at this moment. Unfortunately, the final scene appears optimistic because it was too sunny and clear to produce the effects of an overcast sky.
Editing[ edit ] Stanley Kauffmann writes in The Impact of Rashomon that Kurosawa often shot a scene with several cameras at the same time, so that he could "cut the film freely and splice together the pieces which have caught the action forcefully, as if flying from one piece to another.
This is more than twice the number in the usual film, and yet these shots never call attention to themselves". Music[ edit ] The film was scored by Fumio Hayasakawho is among the most respected of Japanese composers. The stories are mutually contradictory and even the final version can be seen as motivated by factors of ego and face.
The actors kept approaching Kurosawa wanting to know the truth, and he claimed the point of the film was to be an exploration of multiple realities rather than an exposition of a particular truth.
The Western World's Introduction to Japanese Cinema: 'Rashomon'
Later film and TV uses of the " Rashomon effect " focus on revealing "the truth" in a now conventional technique that presents the final version of a story as the truth, an approach that only matches Kurosawa's film on the surface. Due to its emphasis on the subjectivity of truth and the uncertainty of factual accuracy, Rashomon has been read by some as an allegory of the defeat of Japan at the end of World War II.
Davidson's article "Memory of Defeat in Japan: It also briefly mentions James Goodwin's view on the influence of post-war events on the film. However, " In a Grove " the short story by Akutagawa that the film is based on was published already inso any postwar allegory would have been the result of Kurosawa's editing rather than the story about the conflicting accounts. Symbolism runs rampant throughout the film and much has been written on the subject.
Bucking tradition, Miyagawa directly filmed the sun through the leaves of the trees, as if to show the light of truth becoming obscured. Release[ edit ] Rashomon was released in Japan on August 24, When it received positive responses in the West, Japanese critics were baffled; some decided that it was only admired there because it was "exotic," others thought that it succeeded because it was more "Western" than most Japanese films.
Japanese poster for Rashomon International responses[ edit ] The film appeared at the Venice Film Festival at the behest of an Italian language teacher, Giuliana Stramigioliwho had recommended it to Italian film promotion agency Unitalia Film seeking a Japanese film to screen at the festival.
Rashomon : Akira Kurosawa : Free Download, Borrow, and Streaming : Internet Archive
Despite these reservations, the film was screened at the festival and won both the Italian Critics Award and the Golden Lion award—introducing western audiences, including western directors, more noticeably to both Kurosawa's films and techniques, such as shooting directly into the sun and using mirrors to reflect sunlight onto the actor's faces. Some readers might recognise the plot outline.
After the rape, she unties her husband, but then passes out, only to awake to find her husband dead next to her, having committed suicide. Even more compellingly, we then hear, via a medium, the version of the dead samurai himself: Somehow the lady manages to escape, the brigand frees the samurai and leaves, and the latter commits suicide. Unmoved, she frees her husband and challenges him to fight the brigand.
Had there been more people involved, we would have heard even more accounts, each more different than the last. Philosophically, this is nothing new: Yet, you could wonder, what is a filmmaker doing joining philosophical conversations?
Philosophy has a lot to learn from film
According to an as-yet marginal, but increasingly influential line of thought, Kurosawa does exactly what any good filmmaker should do: As Mulhall puts it in On Film Film cannot be philosophy, the main line of attack goes, because it does not work with arguments, as philosophy always should, but with images, emotions and such like. However, by this definition, quite a sizeable number of philosophers are not philosophers either: Regardless of whether films satisfy some technical definition of philosophy, the fact remains that they can have on us the same effect that the great, perennial works of philosophy do: There is a purity of gaze, a depth of vision and a quality of insight in the works of Andrei Tarkovsky, Ingmar Bergman, and Kurosawa, on a par with those of the great philosophers.
We are driven by emotions and passions as much as we are by reason; we employ mythical imagination just as much as argumentative thinking.