🎦 Rashomon full movie HD download (Akira Kurosawa) - Crime, Drama, Mystery. 🎬
Rashomon
Year:
1950
Country:
Japan
Genre:
Crime, Drama, Mystery
IMDB rating:
8.3
Director:
Akira Kurosawa
Toshirô Mifune as Tajômaru
Machiko Kyô as Masako Kanazawa
Masayuki Mori as Takehiro Kanazawa
Takashi Shimura as Woodcutter
Minoru Chiaki as Priest
Kichijiro Ueda as Commoner
Fumiko Honma as Medium
Daisuke Katô as Policeman
Storyline: A priest, a woodcutter and another man are taking refuge from a rainstorm in the shell of a former gatehouse called Rashômon. The priest and the woodcutter are recounting the story of a murdered samurai whose body the woodcutter discovered three days earlier in a forest grove. Both were summoned to testify at the murder trial, the priest who ran into the samurai and his wife traveling through the forest just before the murder occurred. Three other people who testified at the trial are supposedly the only direct witnesses: a notorious bandit named Tajômaru, who allegedly murdered the samurai and raped his wife; the white veil cloaked wife of the samurai; and the samurai himself who testifies through the use of a medium. The three tell a similarly structured story - that Tajômaru kidnapped and bound the samurai so that he could rape the wife - but which ultimately contradict each other, the motivations and the actual killing being what differ. The woodcutter reveals at Rashômon that he ...
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Reviews
What happened is what people will believe
Rashomon is the story of a heinous crime told through the views of different characters that were involved with it.

A few years ago a buddy of mine told me about a movie that I had to see. This movie that he was talking about was Seven Samurai. I usually took his word in such situations but when he gave me the DVD and I saw that it was an old black & white Japanese movie I never made an effort to watch it. After watching Rashomon, by Akira Kurosawa – same director as Seven Samurai, I must say that I'm intrigued to see his other work now.

Not only is his directing and scenery like what we are use to seeing in movies today, he is the pioneer of this. His camera angles and lighting are amazing. I like the way that he shows the sun through the trees as the woodcutter is walking through the woods and also as the camera follows the bandit and Samurai. Also, I must say that I am a fan of the way he incorporated the rain as a mood throughout the movie.

Another quality thing about this movie was the characters. I would say really good job on the actors' parts, although the bandit's laughing annoyed me. I really like the way the Samurai's story was told through a medium. The scene was dark and scary; an element I didn't know could be used so well in older movies such as this one.

Overall, I would definitely recommend this movie. Although, just as all movies, its not one that everyone will like. I would say fans of film, movie buffs, and fans of Japanese work would love this. Hats off to Kurosawa, I pay close attention to the way that films are directed and edited because it is one of my favorite elements of a movie, and he did a fantastic job. The actors also deserve credit for this film also, because they did a wonderful job making these characters believable and interesting. I definitely plan on checking out other work by Kurosawa after seeing this movie.
2007-05-02
An Interesting Must Watch
I know I am totally writing this review out of my memory of watching this movie. There is a certain thing about reviewing the movie when you have just finished watching. Sometimes certain scenes can come to the fore and help you better elaborate and justify the review. Sometimes, it is better to let the movie sink in and then write the review about the movie.

This one falls into the second category. I was just Wow-ed by this movie. This movie exploits an interesting method of perspective narration. Stories are often perspective oriented and in this movie, one story is narrated by many people involved in the story.

What the viewer as well as the person who is listening to these sets of narration has to decipher is - which one is the truth?

While you start with this idea, you end up taking it to a whole new level and not knowing if there is a true perspective you would want to search for? The plausibility of some of these perspectives as well as the intertwined self interest of the narrator implies that there is this haze in everything.

That is when the film leaves you hanging and you're stunned by the turn of events. Its as if someone has tempted you and left you high and dry. Thats what's the Rashomon effect.
2016-01-08
a masterpiece. or only a seed
the book. and its adaptation. emotion, impressions. and memories. Rashomon could be defined as a ball of facts and testimonies, masterpiece or poem about emotions. but, more important, it has the rare gift to be a key. to yourself. it is artistically perfect. the acting, the dialogues, the scenes, the tension, the story who escapes out of screen for become a kind of personal experience. but the virtue of Rashomon is its special status of seed. because it grows up after its end decades and decades in the memory of its viewer. new senses, new sound of words, new nuances of gestures. so, it is a sleep of time. fascinating. and honest. complex. and too simple for not be an axis of questions.
2016-11-11
What did we just see?
'People forget the unpleasant things. They only remember what they want to remember.'

In Rashomon the editing tells ½ of the story. It may feel experimental or unconventional, but Kurosawa perfects the concept second by second, directing and editing. This film didn't need a big budget to come perfectly to the point. It's a simple tale, but not a superficial tale. Different points of view and selective memories ('It's true! I saw it!') don't only make the woods unsafe, but are one of the most universal topics of humanity. 'We humans are weak creatures. That's why we lie, even to ourselves' says it all actually: it's about what people want to hear and when they start being interested at all, apart from wishful thinking. Selfish excuses vs trust in other people.

Rashomon gets masterful when in one instant there is literally a different point of view: the camera takes another position to shoot the same sequence, thereby forcing the audience to reconsider what they just saw. That is the sort of storytelling that the supposed masters of cinema in our time yet have to equal, or try to copy when they fail. Admitted 'Memento' (2000, Nolan) is a truly great one. Still not THAT universal. 'Pulp Fiction' (1994) didn't come close, 'La Commare Secca' (1962) also didn't. 'Ghost dog: the way of the samurai' (1999) touched another border of the concept, or does it?

The use of (non-original) music in my opinion reveals a certain interest for western influence, not only in Rashomon, but also in Kurosawa's forthcoming films, and is probably why his films were so influential on western filmmakers too.

The cinematography is dynamic and changes scene by scene to emphasize exactly what is going on. The shadows of leaves and branches, captured by cinematographer Kazuo Miyagawa, make you really feel 'in the woods', while the actors (Toshirô Mifune, Takashi Shimura) convince the remaining part of the audience (which adds up to 100% breathless viewers). It may be after days that you first realize you saw an important film. After weeks you realize that you must see it again to comprehend (despite it's only 85 min), and ironically that is just one of the crucial points that Kurosawa made. 10/10
2002-02-10
Roshomon – Kurosawa's journey into human psyche… In search of truth!
Based on the stories, 'Roshomon' and 'In a Grove' by Ryunosuke Akutagawa, this is a masterpiece by the legendary Akira Kurosawa.

Highly regarded for its philosophical undertones and its exploration of the unfathomable human psyche, 'Roshomon' is a brilliantly spun riddle. It is about the four people, who give four different versions of the testimonies at the court, on the recently occurred crime.

The story is set in ancient Japan, where three passers-by seek shelter from intense rain in the ruined temple called Roshomon. Two of the witnesses, a dumbfounded woodcutter (Takashi Shimura) and a priest (Minoru Chiaki), are narrating the crime trial to the commoner. More than the crime, they are astonished to witness the testimonies of three people, connected with the crime, which shatters their faith in humanity.

A man (Masayuki Mori) has been murdered, and his wife (Machiko Kyo) was allegedly raped, while they were traveling in the woods. A notorious bandit (Toshiro Mifune) has been arrested, regarding this despicable act. As the trial starts, the fabricated lies resurface over truth. According to the bandit, he and the man waged a war after the rape, resulting in the man's death.

But the woman's version is that she was rejected by her husband, after being raped. So, with uncontrollable grief, she killed him. However, the dead man testifies, through the medium, that the bandit insisted to marry the woman after the rape, but the woman demanded the bandit should kill her husband first. The angry bandit left the place and the guilty-conscious man committed suicide. According to the woodcutter, the woman had manipulated the two men, who were finally pushed to gruesome fight that lead to the man's death.

All these testimonies are believably told to the viewers, making them the judges of this baffling trial… At Oscars, the board of governors voted 'Roshomon' as the most outstanding foreign language film released in the US in 1951. This was an enormously challenging task for the artistes— who had to enact in 3 different ways for the same story– and they excel. Toshiro Mifune attained worldwide fame for enacting the clumsy bandit's role with insurmountable passion.

'Roshomon' is not about analyzing the chronological facts or its relevance. It focuses on, how perspective distorts reality and makes the absolute truth unknowable. Eventually, this movie has been touted as the classic case study for the film students, connoisseurs and movie critics, all over the world.

This simple-looking tale, with its complex web of deceptive elements, remains as the finest cinematic riddle unsolved!
2005-02-25
"Come on Homer, You Liked Rashomon." "That's not how I Remember It"
This film is the glorious work of a genius. A blend of unique, exciting and sophisticated storytelling, and visual mastery. Rashomon is essentially a crime mystery set in Japan. The crime is recalled very differently from different people's perspectives, so the audience is never entirely sure what the truth actually is. You build up an idea of the characters, but since they're presented differently each time, you can never have a set idea of who they truly are. The way the plot structured is very stimulating. Often plots that work this way come together at the end like a jigsaw puzzle, but not so with Rashomon. You're left with four very different jigsaw puzzles and no real answers.

Visually it's truly excellent. The men recounting the story in a temple in the pouring rain is a glorious visual. I found the whole world that has been created very convincing and completely absorbing. Kurosawa builds tension through knowing exactly when to cut and when to linger, and the music creeps right under your skin.

My only minor criticism of the film would be that, by choosing not to show the court, Tajomaru talks in a strange expositional way where he'll repeat the unheard question before giving his answer. This just wasn't my favorite thing as it was a stylistic choice that brought me out of the film if only for a moment. Other than that this film is pretty much perfectly balanced with truly stunning performances. The acting is so visceral, and it has to be to capture the many nuances of these characters. Mifune as Tajomaru is particularly absorbing with his constant animalistic stance and his frequent itching. It's hard to take your eyes off him.

I thought this film perfectly captured much of the human essence. Of how people think of themselves, and how they think about others. It will keep you mesmerised throughout and thinking long after it has finished. Masterful storytelling from one of the masters of cinema.
2015-09-05
Art!
This was Kurosawa's first big international hit, from then on his films would be avidly watched and (usually) feted as Art. His style was always so breathtakingly simple that you can't help but get sucked into the rainy and sunny bestial world depicted in here, with a beautiful use of the black and white nitrate film stock contrasting against a sordid storyline. I've probably seen it 10 times now over the decades and it seems to get better every time I settle down to it - it's been a continual treat.

A horror story from a few days previous is recounted on a ferociously wet day: beautiful woman is (apparently) raped by animalistic bandit in front of her husband who is then (apparently) murdered. But who really did what to who and why? It's told from four viewpoints: the bandit's, the honourable woman's, the heroic dead husband's via a rather startling medium and lastly a breathless version from a timid eye-witness. The event becomes a crime scene with the beauty of forest surrounding us and splintered sunlight beaming down on us through the trees bearing mute witness to the savage few moments. It's a salutary lesson in Human Beings vs Objectivity; the psychologies of the main protagonists are laid bare, as well as the story-tellers, even to Kurosawa and the viewers themselves. Who's telling the truth/ was it a mixture of all versions/ was there another truth untold? Only you can decide!

I urge all innocent bystanders who have a problem with b&w non-HD 4:3 subtitled Japanese films from 1950 to try to get over it! Because it's a riveting journey, expertly handled by probably the best film director who's ever lived, all subjective of course.
2007-12-15
How to view "Rashomon"
Many people have written about "Rashomon" and debated the plot, what "really" happened, who was telling the truth, whether the complete truth is ever told, etc. I think it's possible to state an uncontradictory account of the actual event (which I don't want to describe in detail, as I want to avoid writing a spoiler). The thing to ask yourself, while watching the film,is this: What is the motivation of each character? Each story reveals that person's deepest fear. In the story each person tells, they are trying to protect the one thing they are most afraid of losing. Given this perspective, I find the film is actually quite understandable and makes a lot of sense. One other comment I'd like to make is that Kurosawa-san once said, "Women are not my specialty." I beg to differ! The wife's emotion is so very real, certainly just as real as the men's. I could name my favorite women characters in his other films too...but that might wander outside the scope of this review.
2012-01-20
This movie is in the top ten for many directors out there for a reason.
Upon first sight of the poster, I thought this would be some sort of strange East meets West action film (I'm obviously aware of the Kill Bill and Ninja Warrior films). I was quite surprised, however. It started with a few guys waiting a rain out and telling what appeared to be a ghost story. It was certainly not that... well it was in one part, but I'll leave that out. Anyway, what I was amazed about was that as each character told their part of the horrible crime of humanity that took place, I completely forgot that it was an old movie and was focused on who did what. This movie is in the top ten for many directors out there for a reason. Despite it being considered an antique by most young people out there, the message and story have withstood the test of time- it's a work of art that brings up that question of human nature and how we even bother living with all the bad things going on in the world. Thanks to pretty much every aspect being open to different interpretations, the story is unique to each and every viewer. Whatever they've experienced in life, they probably can relate to the story.

The choreography and cinematography was a great combination that is sure to keep even the modern viewer at the edge of their seat (particularly the frantic fight scene). The more modern remake, though well shot and my favorite tone of velvety dark noir film, didn't manage to outdo its original master. Although, the remake is still something worth looking at.

There ain't no school like the old school.
2010-12-07
An influential masterwork that is timelessly challenging, incredibly philosophical, and ultimately, highly rewarding.
Before Rashomon was released in the early 1950s, the production studio involved complained that it was one of the worst films ever made, and threatened not to release it. A year later, it won the Oscar for the best foreign film category. In fact, Rashomon is often credited as the reason that the Academy created the category. It was also the film that catapulted master film-maker Akira Kurosawa to stardom. Such was the fate of Rashomon that it still bewilders many. But like fine wine, it gets better with age. Looking back, it dawned on many critics that this was an exemplary film, a masterpiece in its own right, and unequaled to this day.

It runs at a modest 88 minutes, but it packs a lot in that time. Exploring themes such as Man's greed, selfishness, and lust, and the inability of Man to articulate the truth, and how obscure truth really is, Rashomon's story is so simply constructed, it becomes profoundly complex in nature. The film revolves around four key eyewitnesses to a heinous crime, all giving entirely different accounts of the event. Who is telling the truth? No one knows, not even Kurosawa himself. There's no clear solution at the end, but that's not what Rashomon is driving at. The film seeks viewers to understand the nature of Man's actions, and how sometimes the faith of Man himself is in doubt.

The artistic direction by Kurosawa is flawless, using rain, sunlight, shades to evoke unique settings, differentiating past from present. The cast gives mesmerizing displays, vicious yet sympathetic at times, especially Toshiro Mifune, and Machiko Kyo, whom are the star performers here. The use of clever flashbacks by Kurosawa, and the courthouse sequences in which we 'do not hear the judge speak' are pioneering film techniques. This experimental narrative by Kurosawa is the epitome of Japanese cinema, the embodiment of film art itself. An influential masterwork that is timelessly challenging, incredibly philosophical, and ultimately, highly rewarding.

GRADE: A+ (www.filmnomenon.blogspot.com) All rights reserved.
2011-03-13
📹 Rashomon full movie HD download 1950 - Toshirô Mifune, Machiko Kyô, Masayuki Mori, Takashi Shimura, Minoru Chiaki, Kichijiro Ueda, Fumiko Honma, Daisuke Katô - Japan. 📀
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