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Rashomon Streaming.
Movie Title: Rashomon Rashomon is available for streaming or downloading. |
A man is boring, a woman was raped, and that’s all that can be definitely said. Somebody has committed execute, but nobody knows whodunnit.
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And that’s the basic status of Akira Kurosawa’s “Rashomon,” a hauntingly pessimistic watch at how the “truth” can be warped and changed by different people’s perspectives. It’s a magnificently eerie share of work, filled with suspense and some really unbelievable 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.
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The woodcutter is discouraged and the priest is alarmed, over a original 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 slay 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 obvious 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 examine was how Masako’s gown stays so white if she’s always weeping on the ground) .
Are Kurosawa’s insights sad and depressing? In a entertaining, hypnotic arrangement… yes. But while calmly pointing out the ability of human beings to lie even to themselves, he acknowledges that there’s sterling in there too. The illusions and innocence of the young priest are stripped away, yet the knowledge of how nefarious people can be is tempered with the knowledge that “sincere” truth isn’t principal to have goodness.
And Kurosawa’s directorial skill is no less striking — light and shadow whirl and dance in a frankly comely woodland setting, serving as a glowing backdrop for some very shocking acts. Kurosawa was even valiant enough to touch on the novel understanding 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 assume the person telling the fable. Tajomaru’s are more stylized and choreographed, while the woodcutter unbiased 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 gawk how unhinged her character has become, and Masayuki Mori does a handsome 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” unruffled defies feeble filmmaking, brilliantly crafted and exceptionally directed. And that’s the truth.
This is a brilliantly told and acted film. And it leaves you thinking about what really happened, long after the film has ended. Kurosawa was a master and this film is a obliging reason why. I highly recommend it.
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Add comment January 28th, 2010