"Rashomon (1950)" Movie Review Essay & Film Analysis

Lumbering firmament brought down to the ground water flows not hide, do not hide. Trinity bystanders hid from the wrath of the Lord, under the dilapidated roof of the south gate of the ancient Japanese city of Kyoto, called Rashomon. The subject of their dispute is becoming the past on the eve of the trial of the robber who has committed a double crime: Samurai murder and rape of his wife. Were heard testimony of several eyewitnesses of what happened, but none of the evidence does not give a definite answer.
One of the inviolable principles of detective is that the puzzles should be the solution. But if the truth can be subjective, depending on the point of view of a spectator or participant in the events? Classical tape of Akira Kurosawa, based on the stories of Akutagawa Ryunoske, raised and brilliantly explored this question, in the end becoming one of the key paintings in the history of philosophical cinema. Kurosawa based his script two essays, deliberately mixing their motives: the first - "Rashomon Gate" - give the name of the movie but the scene beginning of the film, the second story is appropriate for a dozen pages - "The most" - served as the basis of the plot. In the first work of Akutagawa made gates a symbol of moral and physical degradation of the medieval Japanese society. Literary source "in most" is a concise paraphrase the words of five eyewitnesses of the crime: if the interrogation report, but without the problems inscribed investigator. At that time, Akutagawa illogic managed to raise to the highest level. The story has been recognized as unique: creative manner is unusual and is not devoid of innovation
Kurosawa almost entirely transferred the whole story to the screen, just add your ending and throwing the testimony of one witness.. Slowly, carefully, with a great sense of the director examines the pieces submitted event heroes. Their characters producer writes extraordinarily vivid and bright, without skimping on the halftone and do not hesitate, where necessary, to walk around the bush, just to add to the portrait of a couple of small strokes - and the result is amazing. This is not a film, followed by a smile to every passer-by, it leaves a heavy, oppressive feeling. Genre paintings - just a shell stories about the choices that each person makes. Although the characters in the film recite their lines almost one to one with the hero of the story, the difference in the face. If the book we see only the monologues, the magic of the movies allowed to see deeds: so in the scene passage woodcutter through the woods suspense injected pohlesche tapes Hitchcock: plans change every few seconds, having a couple of minutes coming up to almost twenty, somewhere behind the scenes crazy rhythm music sounds alarming, but after half an hour in the same film - a different style of the scene examination magistrate: a static plan, an external perspective, allowing the viewer to feel the inquirer. From this are clearly visible all the movements of doubt, grimaces witnesses - Kurosawa gives us the opportunity to examine each separately, and not only outside, but also - from the inside. But this finding does not end there: at the time the certificate is used a thin ghost trick: prophetess is exactly the same movements of the deceased samurai
Kurosawa made a bold and strong visual impact, playing with the movement of light and shadow, the unusual choice of camera angles, but apart from that - emphasis. attention to detail: the characters eyes, the murder weapon, clothing, and place the total composition, and achieving emotional impact, not forgetting the classic Japanese theater techniques, skilfully and carefully transferred to film. As a result, the director shot sticky, enveloping, frightening and even a bit mysterious, but extremely wise picture. In Kurosawa turned delightfully atmospheric film without any spectacular bloodthirsty monsters and special effects doroguschih - exclusively visual staging skill sponsors: Tape captures and sucks though. Master could purely Japanese world to show the world, and this view turned out to be relevant and in demand both in Europe and in America: in future many famous film directors have used artistic techniques, public genius of the rising sun
But we should not be discounted. gate "Rashomon" as a symbol: no wonder they are displayed in the title. Gateway - a central point of the coordinate system, the initial departure station in the path of good fighting the scourge of both internal and external. Not for nothing at the gate of the rain - a curtain from a pure world: the director sought to rain in the background was black. Water washes away all sins, but here the heavens cry from the human falsehood and wickedness. To take a step back, the rain line, you need to get rid of sins censured this story: cowardice, adultery, theft, and treachery. The author gave an original art form eternal human reflections. The plot of the story here is relative, which was also a new trend not only of the Japanese cinema, but also the world as a whole. The film at some point becomes a poetic shell, like some Shakespearean tragedy moved in Japanese folklore. It is no coincidence after Kurosawa takes the "Throne of Blood" - adaptation of one of the tragedies of the English playwright. Although it is difficult to find Shakespeare, he is still there. There is a view Shakespeare in the eastern understanding, for Kurosawa was able to answer the universal questions: O ambiguity lies in ourselves
film is thoroughly permeated with symbols:. That the person believes the truth can not be more than a fiction, which he just persuaded himself and others, believing it to be true and there. The idea is that every event has its own playback of the lie, which further confuses the judges, and we - the audience, probably, too. And if you judge by their nature can take someone else's point of view, the audience wants to get to the truth. Morality and truth are on the shifting sands of the message of duplicity of human nature. Embellish, to invent, to add - it will be considered already at the heart of American history in the movie "12 Angry Men". different films: the time and place of action, and the atmosphere, but the essence is the same - all people lying. Final in the search for truth sets the controversial question: what is more important - to lie, to steal, but to save someone's innocent life, or - to live without sin, but forget about philanthropy. As opposed to many teachings of philosophers, offering a few truths in one film the Japanese master of hidden foundation of all major religions - the truth is one, it may not be a lot of people. The search for truth in the depth of the film. The director gives the viewer the final say: you decide, and I step aside, leaving the gate, as well as the final itself open one.

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