🎦 Rashomon full movie HD download (Akira Kurosawa) - Crime, Drama, Mystery. 🎬
Crime, Drama, Mystery
IMDB rating:
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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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.
Selective Perception
Path breaking cinema if you may permit me to call considering the fact that it was made in 1950. Very creative of Mr. Kurosawa of breaking away from the norm and invent something new totally unheard/ unseen. I bet the audience were confused when they watched it back in 1950 as one would today.

The cast is perfect (and fat-free, meaning bare-minimum cast!). The changes they bring about in the emotions for each segments is commendable. My favourite segment: the last!

Even though a 90-minutes movie, it appears to be a bit slow probably because you watch the plot churned out 4-times and the boredom tends to set in. Or perhaps because its 1950's movie? Regardless, it can be safely overlooked.

The director attempts to convey one message thru the movie namely "Perspective".

PS: Definitely qualifies for one of the "must-watch" movies before you die!
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.
A brilliant masterpiece from a masterful director
"Rashomon" was Akira Kurosawa's first national hit (becoming, at the time, the highest-grossing foreign film in America) and even gained an Oscar for Best Foreign Film, but almost sixty years later it still hasn't lost any of its impact. It is widely revered as one of the most influential films of all-time, but unlike some other movies, it is not a film that feels dated. The revolutionary methods of Kurosawa are still effective and on-par with the cinema of today -- this isn't a movie where you say, "Yeah, fifty years ago it might have been different, but now it's done in all the movies." Kurosawa's techniques are still superior to most of his imitators. Look at the 2003 John McTiernan film, "Basic," which copies a good portion of "Rashomon's" concept. Which is the better film? It's not a hard choice.

The film begins under a structure which reads "Rashomon" on its exterior, in a small Japanese village. It's raining outside and a woodcutter (Takashi Shumura) and a priest (Minoru Chiaki) inadvertently find themselves in the company of a wandering commoner (Kichijiro Ueda), and as he asks them what is the matter they both begin to relay the most horrific story they claim to know -- of a brutal murder a few days prior.

Kurosawa then switches to flashback and we see three different versions of the exact same event -- the slaying of an innocent man (the murderer played by Kurosawa film regular Toshirô Mifune) in the woods outside the village. Was it because of lust? Betrayal? Envy? Or insanity? We hear from the murderer, the wife of the victim, and a woman channeling the spirit of the dead man.

"Rashomon" is brilliant. Some people have complained that the ending is a cop-out and sentimental hogwash, but I think Kurosawa was fond of sentimentality to a point (he uses a good deal of it in "Ikiru") but the difference between what he does with sentimentality as opposed to many filmmakers of today is that he uses to to ENRICH the story, not provide an easy solution to all the problems.

Is there resolution in the finale of "Rashomon"? To a degree. But, like "Ikiru," it also leaves an open answer to its audience -- this film questions us, and our humanity, and it says something about the human condition and our weaknesses as a species. Yet it also proposes that along with the evil is an inherent good, and in my opinion the message of "Rashomon" is just as important and effective as its film-making techniques and acting.
The husband, the wife...or the bandit?
In ancient Japan, a woman is raped and her husband killed. The film gives us four viewpoints of the incident - one for each defendant - each revealing a little more detail. Which version, if any, is the real truth about what happened?

I was looking forward to this film because I love the concept of POV films, even this, which I believe started the whole thing. Well, that's the problem. If this was the first POV I've ever seen, which is certainly not the case here, I would probably have loved it like everyone else. Well, I've seen many more POV films before this, like "Vantage Point," which takes the same idea but uses it in a more sophisticated way.

The whole POV thing in here is pretty simple and really easy to understand and I was disappointed in that. I just expected more. More complicated things. Small significances that I wouldn't have noticed the first time when watching the film a lot more. But no, it's just a simple plot compared to the other films which took the idea and turned it into a much more complicated way.

Away from that, the film was still good, especially close to the end. I just don't like that the film had a lot of unintentional laughs because of some horrible acted scenes and some amateurish directing. However, they're all tolerable. Overall, it's nothing big compared to films with the same idea released these days so don't keep your expectations high.
Great film with amazing influence
Rashômon is one of legendary director Akira Kurosawa's (Seven Samurai, Yojimbo) great works of art. It is a dark and cynical outlook on mankind and it's morality and integrity. It is the story of the murder of a man and the rape of his wife, told from four different perspectives. Each perspective contradicts the others and it is left to the audience's interpretation as to who told the truth. Rashômon was the first film to utilize the telling of the same story from different perspectives and that technique has now become a staple in creative filmmaking. It is used in many different films such as Vantage Point (2008), The Usual Suspects (1995), and even the animated film Hoodwinked! (2005). It is for this reason that you absolutely cannot say that Rashômon is not an influential film.

Akira Kurosawa is highly acclaimed to be one of the greatest directors who ever lived, and his skills in cinematography and art direction never fail to amaze. Rashômon is no exception. It is beautifully shot in its three settings the entire movie takes place in. It is this intelligent and immaculate direction which captivates and awes you, as you try and decipher the mystery taking place. The story is not complex on the surface but it is the intriguing themes and motifs that Kurosawa explores that make Rashômon an experience that makes you think. Nothing in the film is set straight and it is all up to viewer interpretation.

Rashômon is an excelling work of art, yet a few things must be taken into account to truly understand where the film comes from. It was made in 1950's Japan, a very different time with a very different culture. The filming and acting techniques are noticeably different than modern filmmaking is used to. At times the acting seems very overdone and melodramatic, but you have to take into account the time period. Also the portrayal of women in this film could be looked upon sorely, but this is likely a cultural thing which can't be understood without the proper research. These "issues" are hardly minor gripes and can't really be considered legitimate thing to complain about.

Rashômon is influential filmmaking at it's best. What Kurosawa explores in this film are things that will stand the test of time and make Rashômon a classic film by a legendary director.
A Technical & Creative Success
It's hard to tell just how striking "Rashômon" might have seemed to those who watched it in 1950, rather than seeing it after so many subsequent movies and other works have made use of its techniques and ideas. But it's clear that it is a technical and creative success. The story itself is not particularly satisfying, which was most likely by design, and the movie is carried by its structure and by the concept of the markedly different perspectives on the same series of events. The cast also deserve their share of credit for how well it works, and the photography is excellent, as it is in almost all of Kurosawa's films.

Kurosawa's expertise makes the interwoven sequences of past and present - essentially telling two different stories - not only work flawlessly, but fit together thematically. It's even more commendable when compared to some of the subsequent films that have tried to use similar ideas, only to come off as pretentious rather than creative or innovative. Kurosawa was also working with much less in terms of possible precedents.

In one sense, the choice of specific story material could seem a little odd.

The downbeat, rather sordid scenario makes the movie somewhat less enjoyable than several of Kurosawa's other pictures (which is, admittedly, a pretty high standard), and as a result "Rashômon" is more a film to respect and admire than one to enjoy and take pleasure from. Still, it does have significantly more substance to it than do most of the more recent pictures that have been deliberately downbeat or negative in their portrayals of humanity. Such stories are more trendy at present, and they often receive undue praise simply for so being.

At the same time, the lack of sympathetic characters and the paucity of hopeful developments bring out all the more its success in developing its ideas about narrative and about reality, ideas that are more fundamental and, in their way, perhaps at least as important as any specific story or events.
Different cultures, different aesthetic values
I just watched this film for a film history class, and I have a somewhat ambivalent reaction to it. I recognize the qualities that make it great, in terms of the theme (i.e.--a visual examination of the subjectivity of knowledge), but their are aspects of the cinematography that are very off-putting for a 21st century American audience. Most notable are the exceptionally long takes focused on an actor's face while he/she emotes for the camera. After the first few seconds of this type of shot, no new intelligence is communicated by continuing to view the actor's face. I did like the realism of the fight scenes, which struck me as much more in line with reality than the highly choreographed demonstrations of virtuoso sword-play that many more modern action films offer.

Overall, I give the film a 3, based on the fact that it's just not all that accessible to most modern viewers, due to differences in culture and aesthetic values between 1950 Japan and 2004 America. Since the purpose of any text is to reach out in a meaningful way to its audience, that inaccessibility constitutes a fatal flaw in the film. In other words, it's dated, badly.
Top notch!
You just need to watch Rashomon to understand why Akira Kurosawa is considered one of the finest directors in world cinema. For most of the viewers, it is an unsolved crime told in an interesting yet different fashion, and he/she can try to arrange the puzzles to form a solution. For movie freaks, it is much more than that; in addition to being a fine work of art, it conveys beautifully a simple message through a complex movie.

One can easily gather from the movie, that the main idea conveyed was that there is no absolute truth. We see 4 different people narrating a story, in completely different ways. While each of them tells their version of the story, the idea expressed is simply how much one's perspective can distort reality. Or in the deeper sense, that there is no absolute reality. Reality is relative. We could relate it to the story of the blind men and an elephant, where 6 different blind men touch different parts of an elephant and each of them assume, interpret and argue that elephant looks like the part they touched.

Now, probably to what was mainly conveyed through the movie - the rationale behind the different stories. None of them were lying to protect themselves, as one can notice from the bandit's and the lady's story, they say they might have killed the samurai. Obviously, protection from law is not what mattered. In the bandit's story, he glorified himself; he portrayed himself as a brave and a great warrior, who easily lures the lady. In the lady's story, she portrayed herself as a helpless victim, trying to stand in dignity. In the samurai's version, he was portrayed as being noble, brave, and the best thing he could do was committing suicide. In the woodcutter's version, he is portraying each of the 3 characters equally culpable, which makes his act of stealing the dagger a trivial one. Even though, we tend to go with the woodcutter's story because he is a neutral person, we cannot believe his as well, as he was the only person who admitted that he was lying (earlier).

In each of the version, we see that the person is glorifying themselves. It is not protection from law that mattered, but protecting one's own ego. In every one's story, we see the story-teller polishing his character so as to suit his ego. It portrays the insecurity in humans, the fact that no humans can survive without lying to themselves and creating a make-belief world where they seem to be a better person than they actually are. A simple message that no human is completely honest with himself! Other than the message conveyed in the movie, the way in which the movie unfolds, the way the characters are molded, the way the 3 characters differ in the different versions, the acting, the sensuality of the woman, all plays a great role in shaping the movie into a masterpiece. For instance, the initial scene in which the woodcutter walks through the forest till he finds the dead body is breathtaking. We walk with him, and when he stands still seeing the body, we also freeze. Even such a trivial scene, shot with amazing beauty and intelligence, is what makes Kurosawa one among the best! Usually, when a movie ends without a climax, or when no solutions are provided to the crime, I end up a bit frustrated (exception being Nolan's inception). Have to admit though, this one left me fascinated!
There is no single version of the truth
The concept of "Rashomon" is one that resonates within all of us as it demonstrates effectively and clearly a fundamental aspect of human nature. You can see the so-called "Rashomon Effect" demonstrated everywhere everyday, be it classrooms, offices, homes, online chatrooms or even in the streets. Anywhere you can find a human. As a species, we are highly opinionated and our impression of events, of people, is largely influenced by what we know of them or how we see them.

This is demonstrated by an incident involving a traveler, his wife, and a bandit. The bandit ambushes the traveling party, immobilises the husband, has his way with the wife. What follows after leaves the traveler dead and the bandit and wife fleeing. A woodcutter and priest, who narrate the story through flashback, tell of the three similar yet conflicting accounts of events told from the perspective of the bandit, the life and the traveler)speaking through a spiritual medium)with each claiming to be the killer. A fourth account is given by the woodcutter at the end of the narrative, as he witnessed the whole thing but even his account is unreliable as he lacks a clear vantage point and has reason to lie.

This is a rather deceptively simple concept but one which spurred endless versions, imitation or derivative. But it could've all been terrible if not for the skill with which it was shot. Starting from the woodcutter's opening sentence "I don't understand" said while taking shelter from a torrential storm, it sets the atmosphere of mystery and uncertainty that fuel the narrative. The acting is well done while Kurosawa's use of lighting, deliberate slow-motion, and zooming in on the facial expressions, generates suspense that could rival Alfred Hitchcock. But one of the best aspects is the ending, which quietly but effectively summarizes the concept. The priest, knowing what the woodcutter has done, immediately assumes that he intends to steal whatever little the baby has while the truth is that the woodcutter wants to adopt the boy. This shows clearly how a person's interpretation of another's actions can effectively colour their perspective of "truth".

A person who hates another sees nothing but constant affirmation and justification of his hate in each and every one of the other person's actions while a person who loves another comes up with endless excuses for their behaviour. As far as they are concerned, their impression is fact. Truth is somewhere inbetween these two extremes.You can see this everywhere. Even in something as simple as watching a movie. If people hate the director or story, they will nitpick if they have to for something that affirms their hate. If they love the story or the director, they will make endless excuses. Somewhere inbetween is truth and freedom from bias.

In conclusion, Rashomon is one of those rare movies that speaks of impressive visual direction, good acting, good concept and excellent storytelling.
📹 Rashomon full movie HD download 1950 - Toshirô Mifune, Machiko Kyô, Masayuki Mori, Takashi Shimura, Minoru Chiaki, Kichijiro Ueda, Fumiko Honma, Daisuke Katô - Japan. 📀