🎦 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
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
I saw it with my own eyes!
This fabulous work was years and years ahead of its time when it was made in 1950, being a work of art that engages the eyes and the ears, but most essentially, the brain. The film is both aesthetically beautiful, using amazing camera techniques, extensive periods of silence and a very limited cast to deliver the action, and the story is typically Japanese...ostensibly amazingly simple, but complex to the point of sending you cross-eyed!

The basic tale is this: a woman and her husband, a Samurai, are travelling through a forest when they meet a bandit. The bandit has sex with the woman and the Samurai ends up dead. That's it. This tale is related to us through the woodcutter and a monk who saw the protagonists give their evidence to the police (the dead Samurai through a medium), but unfortunately the three tales conflict with one another. Each confessor says that they killed the Samurai, and then we hear from the woodcutter who in fact witnessed the event, who gives us a version of events that borrows from each individual account, and is still less credible!

The conclusion presented by Kurosawa seems to be firstly that individuals see things from different perspectives, but secondly, and most importantly, that there is no objective truth. There is no answer as to what took place in the forest, and Kurosawa offers us no way of knowing what went on. Each story is as credible as the other, and so no conclusion about guilt can be reached. We even have to think at the end that as the whole thing is reported to us by the woodcutter and priest, was there any truth in anything we heard at all?

This film leads to an especially tricky conclusion for a movie-goer! Your eyes are supposed to show you objective truth, but they don't. The camera is supposed not to lie, but it does. I feel that the simple message is that subjectivity lies at the heart of life, and this subjectivity needs to be recognised before any attempt is made to understand events.
2005-06-05
"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
Whom to trust?
I've wanted to watch this since I first found out it existed. This is the second Kurosawa feature I've seen, the first being Seven Samurai. The man certainly was an artist. The concept smoothly avoids being a gimmick, as it could easily have turned into in the hands of someone not sufficiently talented, and is instead a well-used device, through which base human emotions and responses are explored, as well as relationships, good and evil, and more. Any piece of expression that so skillfully encourages its audience to think - without ever seeming like a lecture - should be respected and appreciated. The story-telling is excellent. The acting is spot-on, from all involved. The minimal cast and amount of settings are well-utilized, and keeps the focus sharp. The plot never loses the viewers' interest, and in fact only gets increasingly deep and fascinating as it goes. While the subject of this is a sexual crime, the way it's handled is immensely tasteful. The visuals are impeccable, and cinematography and editing are amazing. This could arguably, along with much of Hitchcock's work, be cited as the origins of the utter tidal wave of "twist endings"(often overshadowing all else about those movies, including, but not limited to, consideration being put into ensuring that said surprise even makes sense) that have hit popular cinema in recent years, however, milestones sometimes do cause negatives, and they shouldn't be blamed for that. I recommend this to anyone who enjoys being challenged, and is willing to give the medium of film the chance to prove itself as possessing the potential to be a form of art. 10/10
2009-05-28
Confusion and Hope
I saw Rashomon for the first time last Sunday, on Father's day; it was a good day to watch this film. The movie centers on the interpretation of a murder laced with a rape, so most of it is a dialog among three men: a woodcutter who is a witness to the crime, a monk, and a vagabond. The dialog occurs in the remains of a temple while a heavy rain falls outside. The theme of the dialog revolves around a samurai, his wife and a bandit.

The bandit sees the samurai and his wife traveling through the forest, catches a glimpse of the woman's face when the breeze opens her veil, and discovers that an impetuous desire to have that woman has taken possession of his will. He catches up with the couple and through trickery ties the samurai to a tree. He then rapes the wife. So far the story is unique.

The samurai dies. The woodcutter encounters his remains and reports the crime to the police. The bandit is captured and tells the jury a story of the crime. The wife tells a different story. A medium is brought up and through the medium the samurai tells a different story. And finally the woodcutter tells yet another story. There is some amazing dialog between the samurai and his wife about honor, love, and dignity. Betrayal surfaces when it is convenient to betray.

While the woodcutter narrates the events to his friends, the vagabond lights a bonfire with pieces of wood he tears from the ruinous construction. The woodcutter is interrupted occasionally by his friends. The camera work in the temple is unremarkable, with plenty of close-ups of the aging and rough men. Same goes for the scenes at the courtroom. One strange point here is that we never see any magistrate. We learn about the questions because the witness repeats them. It is like the movie about the Prophet, where the camera never shows the Prophet himself.

The forest scenes are much better. Since the crime is narrated four times, there is plenty of action in the forest as the samurai and the bandit fight each other.

After the woodcutter finishes narrating the four different versions of the crime, including his, they hear a baby crying in a room of the temple. They find a little child wrapped in a kimono. The vagabond grabs the kimono. Despite the woodcutter's protest that the kimono had an amulet most likely left by the parents to protect the baby, the vagabond makes a bundle with the kimono and leaves the temple, as the rain ceases, disappearing down the same path where he first appeared.

The monk cuddles the baby but the woodcutter asks to have the baby. The monk refuses, with indignation in his eyes. Then the woodcutter explains that he already has six children and that one more would not be much trouble. The monk hears him, and with a smile on his faces hands over the baby. The movie ends. Until then, there has not been a single instance of brotherhood in the entire movie. Until then the emotions have been on the sordid side of the human scenario: lust, envy, betrayal, deceit, murder, rape, fights, and lies.

Some critics have commented that the ending is a license with sentimentality that Kurosawa allowed himself. To me, the ending is the movie. In the film, we are taken on a long trip throughout the wasteland of human feelings. Human greed and mistrust distort the truth and create confusion. From the affairs of adults emanates a toxic mist of confusion. People mistrust one another. Is there any hope? At the end, Kurosawa shows us the hope, the reason that makes one man trust another man: a future life. The human adventure is an adventure of hope.

The same message is found in Sondheim and Lapine's musical Into the Woods. A marvelous musical mixing half a dozen fables that end up very happily like fables use to end. The difference is that at this stage the musical is only half way through. The other half reverses the fortunes of all players when the giant comes to town seeking revenge. Here once more all the nasty feelings seep out of the human soul. At the end, it is a little child who brings the survivors together. They decide to unite to care for the baby.

So, on Father's day, with my daughter Laura I watched this great film.
2010-06-21
Excellent Kurosawa
Let's begin by explaining that 8/10 is a very high score for me: 95% of all films score lower than that. So this would be one of the best.

I don't think I can ad anything substantial in describing this film relative to others. I would only say that it is a very interesting film and one would certainly improve his knowledge of world culture by watching it. It is also very enjoyable in its own right, with some very funny moments and overall it provides an unforgettable experience.

Highly recommended for those that are open to different types of film than those we see today. Though it is actually more accessible than many films from the 1950's. It is not slow paced, but instead requires quite a concentration from the viewer to understand it: some parts are really fast, which is natural considering that this is a 1 and half hour film.
2012-10-13
Kurosawa'd not give a damn but he'd be my most favorite director if...
...he had not done this.

Rashomon might be a masterpiece in what it deliberately crafted into by the grandmaster Kurosawa but it, like any other masterpieces claimed by other fellow peers or famed critics, is strictly subjected to my own ultimate judgment. And with that being stated, I cannot endorse and celebrate with the general masses on this piece of art. Because it sucks ball.

The movie grants me with an ending of extreme discomfort that I have to bang my head continuously against the DVD-cover and question what was the 88-mins content I just spent starring critically on the screen is essentially about? I finally come to term with myself and realize that it's just a bunch of baloneys.

What's even better is I get to watch the stupid story told 4 times differently. Very nice! The story's plot is embellished with characters that capable of bringing the art of silly overreacting to a higher realm of mastery, especially Toshiro Mifune. It also has one of the best sword-duel scene in the history of cinema that consists of the constant tripping over twigs, running around trees, dropping swords, ridiculous facial expressions and screaming. This particular scene, with an addition of a cheesy Indian song, would make a perfect blockbuster Bollywood flick.

The movie has no resolution afterward. You just have to take in the 4 different versions of the account without knowing the truth in the end even though I don't see the motivation for the woodcutter to lie but you never know what's the real story. Perhaps, it's better that way because up to that point, if given that the woodcutter lies too, I'm too fed up for the real account even if they decide to reveal it.

Do yourself a favor and watch Yojimbo - Kurosawa's best.
2010-07-17
Kabuke Theatre in Akira Kurosawa's niceties in Story Exposition
In the late 50's, Akira Kurosawa was deemed a rather outlandish director before he became an auteur and a real innovator. This was essentially because his range included a large repertoire of Western Conventions with the crossover of Japan's Conventions that he executed so differently, yet so powerfully. A contingent of japan would deprecate him, not because of the quality of his work, but rather the aberrance of his movies. But when his movies really spanned across the world that unconventional streak Akira had with his movies in Japan slowly piqued American audiences eyes at the genre crossover (the influential luminary he would become in the 20th century would be tenable by directors such as George Lucas, who had the concept of the lowest character Point of View for "Star Wars" from "Hidden Fortress", Sergio Leone's inspiration from "Yojimbo" to create the leading character for his Dollar Trilogy, Steven Spielberg honouring him at his Life Time Achievement Award and lauding his work and Darren Aronofsky, who has said that one of the scenes in "Requiem for a Dream" became inspired and heavily dictated by Kurosawa's unique usage of camera angles that was so overbearing for him to imitate, testifying that Kurosawa was really beyond time) and by explicating it more into the 21st century, you will notice this in many movies with his use of music (leitmotivs), his use of segues, his skill with rain in dramatic scene, his mise-en-scenes. The only thing from "Rashomon" that has never seemed to catch on is the One Dimensional Character coming centre stage as we go through the environment of "Rashomon - or more accurately, the uncertainty of "Rashomon". So this wasn't Kurosawa's debut film (in fact, he actually directed 11 movies before this and a couple of scenes in Uma), but it was his first lofty film and Kurosawa's first shot at becoming fully fledged master of cinema. Rashomon - everybody should really know what the movies story is - but if you don't, it's about 3 Narrative POVs that include a couple of wood cutters, Toshiro Mifune (portraying Tajomaru implicated in a crime case - if you look at the character development of his illicit character, it's so disparate now to see him in protagonist roles, where he would become the symbol of morality, anti-hero or fallen warrior. In this movie he is clear-cut evil) and a wife of the man who got killed by Tajomaru (apparently). With the one dimensional character that comes to the Rashomon under a shelter from the rain, we see that he will spark contention and bring an audience's confusion through his subordinate POV to the whole story about these other events whether fabricated flawlessly or feigned unconvincingly. The movies premise: lies; the movies focal point is more about fearing the truth, as the heinous crime that the plot centres around brings our characters to boiling point - and how Akira Kurosawa directs the flashback scenes to show how implausible some of the stories really can be. Times, places, points and evidence - This is where the movie really shines is how it revolutionised the Narrative Structure that Tarantino's "Pulp Fiction" would adopt. Some of my favourite things about this movie to me is the the real human condition that gets analysed and the foundation of the world that Kurosawa composes. It has amazing Black and White, making the images and iconography eidetic. It really shows how eclectic the art of Japanese Cinema can really be (I have always misunderstood Japanese cinema until I found Kurosawa and

When you listen to the wife's story this subtext element becomes cognitive to the audience that... something is going wrong and something flagitious is changing the ideas aforementioned.

I think it's one of these movies that can be set aside after watching it, but you feel the veritable impact it has. I gave this movie an 8, as while I still love the movies arresting plot devices and low brow characters, I still feel subsequent from watching it, you will feel like you're missing something (a very indifferent ending), the sun, however, makes this unclear and kind of leaves this in the dark. However my score is really because I feel it is very much variegated in our understanding of what the movie is - will there be retribution? Will there be salvation ultimately climaxing the events that merry the films Aesop/point? Was that guy who exited the frame, deciphering the story, know who they were? The movie is quite ambiguous, while it still tries to make you embrace the facts already exposed, although this is notional. The movies set up may just be a suspenseful artifice to make you feel a certain visceral impact to whether or not something was omitted or something was substituted due to being too multi-dimensional or faceted. Either way the narrative with what it has backing it, tells it with substantive eloquence. I moreover feel Stanley Kubrick (my favourite director) actually takes inspiration from this movie, in terms of its assiduous study of the human condition and his style backing this notion.

Anyway, I feel the longevity of Rashomon shows that it is not as antediluvian as its age suggests. It's an adroit study of deception being a crime heinous enough to equate to the crime being studied bringing us back to the epigram "What you don't know can't hurt you" and then slanting the meaning in it.
2011-03-28
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
Kurosawa, do I need to say more
Kurosawa tells a story four times through different characters. The characters tell the story different four times. In flash-backs, all as the characters tell them, we see the stories. Are they lying, are they all telling their own truth or is there someone who tells THE truth? The way this is handled by Kurosawa is absolutely masterful.

Of course, his direction is great. Together with cinematographer Kazuo Miyagawa they do a tremendous job with the atmosphere in the woods. With perfect light angles it looks beautiful.

A real Japanese classic.
2003-04-07
See Also
📹 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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