🎦 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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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.
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.
Most of the time we can't even be honest with ourselves.
To have a film that holds the coveted title of being the reason that the "Best Foreign Film" category was created for the Oscars is one thing, but to be able to back up that myth with a powerful film that speaks both about humanity and the strength of truth is a whole new angle. Often we witness powerful foreign films that slip through the lines of cinema, regarded by so many as valuable assets to the film community, but never see the gold of Oscar. In the same sense, sometimes the most popular of those foreign films eventually become Oscar contenders, not because they are worthy enough, but because studios had the funds to allow bigger distribution to audiences, thus allowing popularity to do the rest. Rashômon is one of those few films that succeed in giving us both a quality film and the accolades to represent it. Rashômon is a rare breed of film. The Japanese filmmaker Akira Kurosawa took many bold steps with this film (pointing his camera at the sun, filming deep within the jungle, and the mockery of truth), that it is unlikely that you could go to a modern day Hollywood film without seeing one of these techniques being "borrowed". His bold storytelling, creative camera work, and powerful characters give us a unique story that should be included in everyone's film library.

While the characters were strong, the direction was flawless, and the story was compelling, there is a theme that needs to be discussed while talking about Rashômon. This is the story of murder, betrayal, and rape and in any typical "courthouse" film you would have some spineless witness finally break down and confess the truth. At the end of these films the truth is discovered, but not in Rashômon. Kurosawa gives us the "black sheep" of themes by never really giving us what we really wanted from the beginning of this story. As I began this film, I thought I was going to get a clear-cut story with honesty and troubled souls, but instead I was handed no prize at the end. What I sought after the most is not handed to me in a Happy Meal container at the end, but instead trapped still within the film. Kurosawa gives us the meaning behind the story, that there possibly is no way of knowing the true "truth". Four different souls, seeing the same event all culminating to four different results means that the "truth" may never be known. Kurosawa has taken the story and provided us with the main character being truth, and like Kaiser Soze, the greatest trick it ever pulled was convincing us that "it didn't exist". Deep within Rashômon the truth is hidden, and it may never emerge, but that is what Kurosawa intended. A viewer could walk away from this film, after several viewings, and discover different truths about the characters and story. This is a constantly evolving film that will continually get better with time.

Outside of these beautiful themes, Rashômon is a flawless film. From the execution of the actors to the simplicity of the direction, there is plenty in this film to keep your mind busy and your jaw nearly dragging on the floor. To begin, the performance by Toshiro Mifune ranks among the best in film history. In each of the stories he is portrayed differently (even in his own) and with precise execution he delivers every time. He is insane, passionate, loyal, and villainous all at the same time. While some may see his acting as eccentric or over-the-top, I found each of his portrayals as accurate and astute. When Mifune is on the screen his presence commands your eyes and you cannot help but become involved. Second to his performance is that of the troubled wife. While her characters is the most confusing/suspicious of them all, Masayuki Mori keeps us intertwined with the story by controlling her character with the greatest of ease. When it is time for her to be unleashed, the true drama of the story is thrown in your face with brilliance and expertise.

Overall, I thought that this was a near perfect film. Kurosawa is intense, original, and adeptly secure about his stories. I have seen the same passion in Ran, and it cannot be denied. My only concern with this film is that if you are going to watch this movie, make sure that you can devote your entire mind to it. I found myself watching it three times because I could not stay focused (outside factors) enough to see those darkly hidden themes. I especially enjoyed the unearthed darkness of humanity, which is hinted on at the end. The fact that after hearing these stories of murder and rape, it doesn't stop one from continuing along a similar path. It is a powerful tale that should be enjoyed by all!

Grade: **** out of *****
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.
I want more of Kurosawa after this one
The movie which introduced Japanese cinema to the world. The movie which introduced Kurosawa and Toshiro Mifune to the west - Rashomon. Based on ancient Japan where Samurai's dwelled and women had no rights, Rashomon is actually a series of flashbacks. The movie starts with a woodcutter, a priest and a commoner discussing about something unusual that happened in the court that day. The Woodcutter was summoned to the court as a witness to the dead body of a Samurai. As, the movie progresses, it is clear that an infamous bandit killed the Samurai because of the lust of his beautiful wife. This particular crime though is recalled from four different point's of view. The bandit, the Samurai's wife, the dead Samurai himself (With the help of black magic, entering the body of another human) and the woodcutter who was an eyewitness to the entire murder scene. All four of them present completely different perspectives of the same murder and it is left to the audience to decide whose version may be true. But this movie does not stop at being a murder and crime mystery. It also takes a closer look at the human psychology and behavior in different situations and conditions.

The plot itself is very unique and engaging . Kurosawa has made this already interesting plot into an exceptional movie with his accurate and detailed direction. The Cinematography is also of the highest order which enhances the feel of the movie. Special credit goes to all the actors who had to shoot the same scenario four times but with different mindsets, expressions and dialogues. Among the actors, a special mention should go to Toshiro Mifune (Kurosawa'a favorite actor) who ruled the screen with his animalistic rage and passion. A very enriching movie experience which left me wanting for more of the great director. In my all-time favorite movie's list straightaway .

Rating : 9/10
"It's human to lie"
This is the first Kurosawa film that really punctured the Amero-centric film bubble, that left Hollywood the near sole producer of films after their nearest competition, Germany, lost their best directors due to Anti-Semitic pogroms. Thankfully, there is no pandering to try and imitate such a film, there are no musical numbers, not much action of any kind, and characters that aren't the nicest of people.

The story starts in the rain, as a group of people huddle around under an abandoned building to avoid it. From there, the common man is told by a woodcutter about a rape and murder in the woods, as well as a depressed monk who is losing his faith in the human species. From there, we are told multiple differing stories from multiple perspectives about what happened, and all of them vehemently contradict each-other. All of them cast a mystery that gives the viewer nothing to go on but their words.

What makes it work is that all of the stories, though self-pitying, all feel like they could have happened. There is no favouritism between the three parties, and all are giving 100% believable performance when they retell their stories, including minor pieces of exposition which lend credence to their tales yet further.

We are consistently cutting back to the commoner who's actually pretty funny and worldly, who offers a simple, unpretentious counter to the more philosophical world-view that Kurosawa is trying to explore. His crudeness is even somewhat likable. His attempts to try and rationalise the stories are magnificent in their roughness. There is further character development between the monk and woodcutter, both of whom have character arcs in their own right. Both stories, that of the 3 under the building, and the rape and murder, are excellent in their own right, but once combined, we can even then see parallels between them, and that shifts the film into masterpiece territory, without being a completely inaccessible puddle of pretentious cinema. This is a film a 12 year old who likes Transformers can watch as well as some 50 year old Swedish artisan.

One really gets a sense of the desperation eating at men's souls, including in all the murder scenes, and the sniping between the nihilist commoner and the (clinging) spiritual monk. There is a sense of underlying nastiness at the heart of everyone, but likewise a sense of potential redemption, though it most certainly doesn't completely conquer all that is wrong. Rashomon leaves us with an honest portrayal of the human species that doesn't leave us completely hopeless, nor wilfully ignorant.

It leaves us with hope, and hope can only exist in fear.
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.
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 .
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.
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. 📀