🎦 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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Jidaigeki Noir
There are only a handful of films that so permeate the film culture that they are loaded with so much expectation, having influenced so much, that it's impossible to see the film for the film itself. Kurosawa has made quite a few of these films, of which "Rashômon" (1950) is, for me, the hardest to approach for the very reason that it seems to penetrate everything.

The narrative is, of course, legendary not only how it is executed but how it has influenced art ever since. The untrusted narrator was hardly a new invention, even in film, since didn't noir explore its possibilities in depth? But it is never the novelty of the idea rather than its execution and application that counts in the end. And not that I think it's even remotely interesting and important who did what first here - the reason I mention noir is its vicinity to "Rashômon", which can be aptly described as jidaigeki noir. This is what Kurosawa did so well, taking a genre and then reshaping it, often revolutionizing it in the process.

Perhaps there's a need to moralize towards the end that doesn't seem to come so naturally, since to some extent the drive of the disoriented narratives works toward a rather more pessimistic solution, yet on the other hand it's wise to have a counterpoint that actually gives some sense of closure. And if one yearns for pessimism, Kurosawa gives that amply in his last epic.
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.
A superb Classic
Kurosawa's magic film is a composite of 2 Japanese short stories by Ryunosuke Akutagawa: One, "Rashomon," the title tells of a confrontation of a young man at Rashomon, the large, fortified gate at one entrance to Kyoto where people would abandon children and corpses; the other, yabu no naka ni, "In a Grove," tells of the confrontation between the bandit, the samurai and his wife, told from the point of view of the woodcutter. In 1950, Kurosawa weaves this tale of human vanity and duplicity with the young Toshiro Mifune, as the bandit, Machiko Kyo as the lady and Masayuki Mori as the samurai. The tale unfolds through the flashbacks in the narration of the great Takashi Shimura as the woodcutter, supported by character actors Minoru Chiaki as the monk and Kichijiro Ueda as the bum. Basically, with a cast of six and the stark settings of a woods and a dilapidated castle gate in pouring rain, Kurosawa the magician gives us four views of human vanity, excessive pride and cultural conflict. The foibles of human needs are exposed but redeemed in the final scene where the basic act of kindness brings closure to the bizarre display of greed, lust and mendacity that has gone before. For a Kurosawa film, this one is short, to the point with an economy of emoting-- for which Mifune was never accused of under doing and the viewer is left somewhat exhausted by all the twists and turns, confused by the mix of contradictions and seeming paradox, but satisfied with a feeling of hope.
Japanese crime drama , regarding deeds since various points of sight as people explain them
In 12th century Japan, a heinous crime and its aftermath are recalled from differing points of view . As a samurai and his wife are attacked by the notorious bandit Tajomaru, and the samurai ends up dead . An episode , rape and killing in a forest grove is reported by four witnesses : a priest , a woodcutter , a commoner , a famous bandit named Tajômaru , even the dead man, speaking through a medium was lying , each from their own point of sight , but the testimonies of the three direct participants were mutually contradictory and claiming responsibility for the death . Every time the story is retold , each person has a different opinion .

This is a magnificent picture by Akira Kurosawa starred by his ordinary actor Toshiro Mifune , being his international breakthrough one . Rashomon , the picture blends drama , suspense , emotion and results to be pretty entertaining as well as thought provoking . The movie is a reflection of life, and life does not always have clear meanings . Its striking visual effects and evocative atmosphere made Kurosawa a name outside Japan . The flick is tense and mysterious from the beginning till ending and is neither boring , nor dull but enjoyable . This movie is known for its use of symbolic weather , throughout most of it, there's heavy rain, which fades away by the optimistic ending, when the weather becomes sunny . The screenplay of the film has a twisted plot and the final gets an extraordinary surprise . This picture had great impact and influence on American cinema , in fact it was remade as ¨Outrage¨ (1964) by Martin Ritt with Paul Newman , Claire Bloom and ¨Basic¨ by John MacTiernan with John Travolta and Samuel L Jackson . Evocative cinematography plenty of lights and shadows by Miyagawa . A very early use of the "hand held" camera technique , following characters closely through the Woods . This film is often given credit for the first time a camera was pointed directly at the sun , even during high noon the parts of the forest that the crew needed to shoot in were still too dark. Rather than use a regular foil reflector, which did not bounce enough light, Akira Kurosawa and cinematographer Kazuo Miyagawa opted to use a full-length mirror "borrowed" from Daiei's costume department.

The motion picture was compellingly directed by Akira Kurosawa with both philosophical and psychological overtones . After working in a wide range of genres, Kurosawa made this Rashomon , often credited as the reason the Academy created the "Best Foreign Film" category. When the film was released internationally to rave reviews, many speculated that Akira Kurosawa was influenced by Citizen Kane (1941) in the element of flashbacks that ultimately provide conflicting accounts of events. However, Kurosawa didn't even see Orson Welles's film until several years after . It won the top prize at the Venice Film Festival, and first revealed the richness of Japanese cinema to the West. The next few years saw the low-key , touching Living (1952) , the epic The seven samurais (1954), the barbaric , fascinating Shakespeare adaptation Throne of blood (1957) , a Macbeth's version , and a fun pair of samurai movies Yojimbo (1961) and Sanjuro (1962) , these are fiercely-charging , uncompromising pictures . Yet , there was a quieter side to Kurosawa's nature , expressed most succinctly on Living , The Lower Depths and especially the medical drama Red Beard . After a lean period in the late 1960s and early 1970s, though, Kurosawa attempted suicide . He survived, and made a small, personal, low-budget picture with Dodes'ka-den (1970), a larger-scale Russian co-production Dersu Uzala (1975) an epic tale of adventure in turn-of-the-century Siberia and , with the help of admirers Francis Ford Coppola and George Lucas, the samurai tale Kagemusha (1980), which Kurosawa described as a dry run for Ran (1985), an epic adaptation of Shakespeare's "King Lear" . He continued to work into his eighties with the more personal Akira Kurosawa's Dreams (1990), and Madadayo (1993) . Kurosawa's films have always been more popular in the West than in his native Japan, where reviewers have viewed his adaptations of Western genres and authors with suspicion , but he's revered by American and European film-makers, one of his least well-known films but most agreeable pictures is The Bad Sleep Well , a transposition of an Ed McBain detective novel , being remade many his pictures such as The seven samurais (1954), as The magnificent seven (1960),The Hidden Fortress (1958), as Star Wars (1977)as Yojimbo (1961) as For a fistful of dollars by Sergio Leone (1964), in fact Kurosawa's style was the biggest single influence on the Spaghetti Western sub-genre ; as his Samurai 'Western's were copied not only in America but also in Italy .
A Brilliant work
"Rashomon" is brilliant.Rashomon pioneered Kurosawa's dream tryst with perpetual brilliance and undoubtedly played a pivotal part in making his name a mark of excellence in the world of cinema.The concept of Rashomon though well ahead of its time, sowed the seeds for creative innovation in the world of cinema and has served as the undisputed benchmark of innovative excellence for well over five decades.Each flashback is an absolute gem in itself, and lives long in the mind. 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.
Distinctly Resonates As Akira Kurosawa's Finest Outing
Examining Rashômon is a lengthy process, mainly due to the substantial amount of material on offer and the thought-provoking questions which should be probed subsequent to viewing. Not only does the film ask some of life's most profound questions, but it also begins to confront various evocative ideas. Essentially, Akira Kurosawa's unmatched classic is about gaining an understanding; the film's first conversation introduces characters who "don't understand" and are looking for answers, this is opening the primary theme.

Personally, Rashômon has forever been favourite of Kurosawa's directional works. It also happens to be the film which introduced me to the work of an auteur; a man whose vision echoes that of a revolutionary cinematic historian. From the likes of Shichinin no samurai, to Ran, Kurosawa is *the* director of Japanese cinema. During his lifetime he managed to confirm himself as one of the world's leading film-makers. He was director who created cinema which was impossible to match, and his influence still resounds within even the most mainstream works of today. For example, the non-linear narrative structure of Rashômon has been respectfully woven in numerous films since. Rashômon was the work which propelled the career of Kurosawa; even though it was not widely regarded in its own country at the time, it was hailed by the critics of the Western world.

Rashômon is the compressed tale of an innocent woman's rape and her husband's murder, performed by a ruthless bandit (acted out by Kurosawa's long-time working partner Toshirô Mifune). Even though the bandit is caught and consequently put on trial, the seemingly simple crime soon becomes questionably more complicated as it is recounted from four individually detached "eye-witness" perspectives. Posing many philosophical questions for the viewer, the picture asks which story is the one to believe (if any), through -what was at the time and still remains- a highly stylised storytelling technique. Establishing a verdict on the heinous crime centred upon in Rashômon is as much an ordeal as the crime itself because it proves to be an incident which provokes moral questioning and fierce debate.

The film-making techniques used in Rashomon gave birth to a distinct style that Kurosawa was prepared to develop further in his later works, which can be seen in films such as Yojimbo and Shichinin no samurai. Level-headed pragmatism plagued Kurosawa's features throughout his earlier years; this was something that came as an advantage for his films, being that the characters (even the villains) portrayed in his films were genuine people you could feel compassion and remorse for. Also, Kurosawa began to define genres throughout the 1950s and 1960s, while also bringing to light some now-popular (often overused) methods of camera movement, e.g. dutch angles, revolving shots and amplified close-ups.

For those who question the film's offbeat narrative structure, they should ask themselves whether or not the cut-throat editing is there as a means of symbolising the colliding viewpoints. I consider this to be a daring means of combining humanitarian lies and honesty, and also a means of creating a disorientating, volatile impression. With Rashômon, Kurosawa's admiration for silent cinema came into evident practice; this can be seen through the minimalist set-pieces, which are a contrast to the complex storytelling procedure that his work embodies. The ambiguity of Rashômon is detailed through subtly metaphorical cinematography and lighting techniques. I have always seen the setting of the woods as a display of the work's central atmosphere (intrigue) and the shadows periodically depicting a loss of empathy and symbolising the isolated danger of the surroundings.

The majority of films fail to emphasise with the viewer, this can blamed on the morals being "mixed" and ultimately enabling the viewer to become unsure of a film's statement. However, with Rashômon the morals are clear and refined, without being preachy or simplistic. Summing up the greed, confusion, deprivation and indulgence of the world is a tricky business, but somehow Kurosawa has the ability to perform such a task with exceeding talent. Rashômon warrants a right to be hailed as a definitive classic. Unlike its story, I doubt that viewers of Rashômon hold clashing opinions, being that it is far too flawless to be argued over.
"The Ferocity of Men"
Rashomon is a movie based off of the short stories "Rashomon" and "In a Grove." It is the story of a bandit who leads a couple into the woods, ties the man up, and rapes the woman. Somehow the man ends up dead, but there are differing theories as to how this happened. The movie takes place on a rainy day when two men are discussing how much this story confuses them. A third man shows up and asks what they are talking about. The story is told from the perspectives of the bandit, the wife, the husband, and a woodcutter who saw the whole thing. It is then up to the men to decide whether or not humanity is inherently evil, or if there is a glimmer of kindness in men.

This movie is all about how humans lie, cheat, and steal to impress others or to make themselves feel better, and to gain an advantage over others. Since there are four differing accounts, at least three, and maybe all four, of the storytellers are lying. Each character gains something by lying. The bandit portrays himself as an honorable man who challenges the husband to a sword fight instead of killing him in a deceptive way. The wife says she does not remember murdering her husband, thus distancing herself from some of the blame, and then proceeds to say that she was so struck with guilt that she tried to commit suicide. The husband says that his wife only betrayed him because she was brainwashed by the bandit, and that he was so grief-stricken that he killed himself. And finally, the woodcutter lied to the police so he would not have to get involved, and lied to the two men to cover up the fact that he stole the woman's expensive dagger. All four of these characters are selfish; Tajomaru is a rapist, the woodcutter is a thief, and any of the four could be the killer, including the husband himself. The movie portrays humans as horrible, self-centered creatures, and the story even causes a priest to lose his faith in humanity for a while.

However, the movie also shows hope for the plight of men. At the end of the movie, a baby is abandoned. It is left all alone on that rainy day, unable to take care of itself. But the woodcutter, who already has six children, agrees to take the baby home and raise it as his own. He has given this child a second chance at life, and has restored the priest's faith in the kindness of humanity.

The movie was black and white, somewhat repetitive, and slow-moving. I do not recommend it to anyone who has a problem with those things. Because of the rape, it is a mature film and not for children. It is also pretty depressing and up until the very end, shows only the negative aspects of people. But overall, I thought it was a pretty good movie about human nature, and I would recommend it to anyone interested in the darker side of people.
seeing isn't always believing
Akira Kurosawa's "Rashomon" is not a whodunit at all. The testimony from each of the witnesses deliberately presents contradictory versions of the events. In fact, the interrogations are possibly the most fascinating scenes in the movie: we see the witnesses describing what they saw (or at least what they claim to have seen), but we don't see the interrogators. It's as if WE are the interrogators. By hearing these different stories, we have to reconsider how sure we can be about what we think we know. Not to mention Kurosawa's use of the forest to create a mysterious setting.

This is beyond an incredible movie. As with "Seven Samurai" a few years later, Kurosawa knows how to do everything perfectly: direction, cinematography, the works. Of course, probably the most important point is what the one character says noting that we make up stories to help us cope with life. All too true. A masterpiece.
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.
📹 Rashomon full movie HD download 1950 - Toshirô Mifune, Machiko Kyô, Masayuki Mori, Takashi Shimura, Minoru Chiaki, Kichijiro Ueda, Fumiko Honma, Daisuke Katô - Japan. 📀