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

The sense of danger; they antinravstvenny. Mind sets spirit, initially completely free, morality (a kind of state of mind when he locks himself inside, limiting its absolute freedom - that is, the spirit begins to know itself), thus evoking disgust and fear to the manifestations of sensory nature, manifestations of the unconscious force as symbol of the infinite and the total destruction of that does not know anything other than the eternal exhaustion saturation eternal and everlasting satisfaction. Reason is the constant creation of spatio-temporal and causal environmental paradigm of reality, since it is guided by the desire, the essence of which sacrifice, that is, the desire to get to the truth, and the truth itself in itself without worrying (the spirit) and stick to the transgredientnoy on relation to her position, giving a speculative truth, transcendent being truly experience. Emotion, on the contrary, oppose any attempt to shackle them in a chain; they do not know what is the sacrifice that has elapsing time and limited space -. for the senses substantially only here and now, lasting throughout eternity
in "Rashomon" by Akira Kurosawa raises primarily knowability problem as such, relegating his thoughts the conclusion is not objective, but it is subjective: the most important is not to know the truth as an object, and experience it within themselves the spirit, as the state. The case when during the filming of a Kurosawa approached by a group of employees with a request to explain what is a scenario of "Rashomon" - apparently at the time of development of cinematography, the script of the film is a thing too abstractly metaphysical to transfer it to the screen - and Kurosawa said that "Rashomon" - is a reflection of life, while the latter is often a very difficult and incomprehensible sense; the director was not far off from the truth.
"Rashomon" debunks the myth kind of Immanuel Kant Critique of Pure Reason and subsequent raises the idea of ​​the great philosopher of the domination of practical reason in which "hardened spirit", in which he was given by morality, the mind pure, allegedly is a purely knowledge of reality, without corrosive impurities empiric and based entirely on some transcendental laws of human existence. It is said that the good work of art as opposed to a philosophical treatise that beholding consciousness does not pose a framework for reasoning - in other words, it is the liberty of interpretation. And taking place in "Rashomon" event, exactly like himself, "Rashomon", the viewer is free to interpret as you wish, but Kurosawa makes clear one that the mind, even if it is clean, there is only a tool externalization, while the metaphysics of events remains for him . not so much closed as part unnecessary, and it is the latter is important for the director and, subsequently, the viewer "Rashomon»
plot and story of the film "Rashomon" is quite closed; isolation, this is due to the internal structure of the film. Each of the characters (this Lumberjack, Monk, Rogue, wife, husband) conducts a retelling of events, witness or party to which he had become. The event is only one, but it is powerful in itself and comprehensively, and making a story that really happened, as well as its interpretation samoyavlyayuschimi; the director is not necessarily to put a hand to the story, the main thing to keep the viewer in its very midst.
viewer, listening to stories of eyewitnesses, one after another, soon realizes that the truth is not in sight, but the most important thing, the most terrible secret revealed movie - it shows no life, but also, like any other kind of fine art, distorts the life, alienated from life, becomes, in the words of Hegel, from the "for-itself" to "in-itself". Kurosawa said in plain text: in fact, the truth, the notion of such a high and pure, not objective; it is not independent of man, and is not something inaccessible and incomprehensible. If true, and relates to the empirical world, it is only as a property, but not more than (that is, as "the foundation of things"), and in this case it is an object. In fact, the truth is - it is a state of mind, when he is in the so-called harmony with oneself and with the environment in which it is some kind of force has been absorbed; in a state of truth spirit experiences a sensation similar to happiness - not a meaningless and dazzling burst of joy, but quite The orderly sense of satisfaction (there is no reason for any doubt in mind, issues like themselves), - it is not eroding this state the truth. Motives for violation of this state a great many, and sometimes it can be assumed that the external existence of the spirit only of such motives and is - every second one event follows another, people make some incredibly horrible or disgusting things, but awareness of the past and trying to understand what pushes people to such tricks is not enough time, or not at all turns.
main site of action should be clearly indicated in the "Rashomon." There are only two: the space between subject and object space. Memories, witnesses, character speech represent the first space, the second space is designated themselves Rashomon gate
«Rashomon" is impregnated with a sense of hope -. When the rain stops and the sky will be bright. Kurosawa makes an important emphasis on the subjective experience of objective phenomena, dragging through the whole film a kind of feeling of unreality - so brilliantly played by the director with the mounting gluing and time parameters episodes. This proves the skill of the creator, and testifies to the achievement of the strap, which has set itself Akira Kurosawa: make their works really integral to the style and contained "inside work" idea did not go paralellno and organically intertwined, thus turning into something new ., more developed and whole
Ends "Rashomon," the triumph of morality - truth condition is reached, not an illusory state, but quite real: Lumberjack justify his act good intentions, Monk, in its all, showing respect for the efforts and troubles unfortunate man, regaining, as he says, "faith in people." Heavy rain stopped, the clouds dispersed. The film ends.
When the obsession of stunning mendacity of the universe ceases to be intrusive, firmly entrenched in the mind, you begin to wonder if you are mendacity itself? And the whole of your personality - no more than a cover for the "feelings assembly"? That morality - it is, in fact, the fairy tale?

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