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

The uniqueness of the film is that, being a full continuation of the traditions of Japanese culture and Eastern philosophy, he was the actual product for the viewers of many countries, as evidenced by and the Grand Prix of the Venice Film Festival. The moral philosophy of the director, together with a fine sense of the cinematic language affected the eternal questions of human existence, finding them an original art form, let me introduce the author's thinking sensually comprehensible matter through the eyes of not only a specific scene, but all life. Kurosawa was first introduced to the world of cinema concept of relativity of the plot, characters, and ideas contained in the message of the film. Touching upon the category of morality and truth, he put them to a fragile mist, which continually look through the images of the false or true, but every one of them until the end and did not disclose its nature, giving rise to a fundamental ontological question. And this picture reveals the greatness of his artistic nature, which is not recited, is not confined to his definitive conclusions, but has access to the general cultural meaningfulness of life.
film characters and laced with a special poetic rhythm, so the story becomes a poetic form that serves as a removal tool and estrangement (Shklovsky), which does not take away the tape in the sphere of abstract illusions, but the reach of vitality in the strong sense of reality. Like any true artist, allegory in the work of Kurosawa does not arise in the mind of the director, and appears in the observation of reality. Therefore, the object becomes a metaphor for the collision of matter and ideas. Frame not only shows the events, but is inspired by the sense of the narrative, its space like electrostatically charged excitement, which results in the author's thoughts.
in "Rashomon" is easy to reflect the specifics of the movie vision Andrei Tarkovsky, who believed that the film operates not concepts, and time. While living in the frame, it is the whole essence of it, and different frames are different temper, concentration this time. In the film Kurosawa plot develops three disjoint plans: scene from Rashomon gate, certificates of participants unfortunate incident before the magistrates and their cinematic reification in the memory of the heroes. Each of these levels has its own rhythm. His feeling arises not only in the visual dynamics: moving light and shade, the choice of camera angle, size of the plan - but the inner principle of image: the power of his emotions, the nature of ideas, focusing on the specific details and place in the overall composition
. Rashomon gate - the central figure of the story, his conscience and a cornerstone in the outlook of the entire film. Under their vault, the action froze in disbelief, the inability to realize the depravity of human nature. Painful sadness pervades the atmosphere viscous picture tragic doubts of faith in people, in their integrity, and hence the existence of good in the world. Gates appear the symbol of life: cut off from the surrounding space veil of rain, like tears of the sky, they are divided into two floors - the top, where are the corpses, and the bottom, where the characters are trying to get out of the suddenly surging understanding of falsity, penetrating into every human being. Here is seen the concept of hell and purgatory. Upper floor - it's hopeless punishment for sin, but still below the huddle hope, still have a chance to go beyond the unrelenting rain curtain in a life where love has not died to his neighbor. Interestingly, in a classic triad of biblical Paradise is passive and is embodied in a particular way. This decision makes review of Eden, not as a metaphysical otherness, but feel, on the one hand, its reality, and on the other - to wonder about its existence, which can be achieved only by the desire of man to light. The director leaves open ending, which, however, alluding to the desired outcome, however, the last word should sound already in the mouth of the viewer.
composition tape covering the real and the imaginary time is an existential nature. The starting point of the story really comes forward, but then the film moves in the highest limits of human consciousness, reflects on the world and define themselves in it. Therefore, in the story there is a motive to overcome the real existence to achieve the feeling of convention history, which may be false, but it is important, not the truth, but a reflection of the nature of telling her character. The role of the transition to the other side of the mirror performs a path through the thicket Lumberjack: 2 minutes, 16 plans and alarming rate, supply to the climax of the episode, which, like an explosion, opens the door to the art space of the picture. A similar method was used in Tarkovsky "Solaris" when Henry Burton long rides around the city and through the movement of the plot carried out the separation from the natural first part of the film and bringing it closer to the science fiction or philosophical inspiration
second pattern formation -. Questioning court officials - made in an unusual style, which can be compared with the theatrical representation: the camera is static, the number of assembly gluing minimal and external perspective, as if this is an official audience. Game actors creates a feeling of passionate confession. We see the image of the characters, we hear their words and suddenly transported to their memory, which restores the version of the murder of the samurai. The director seems to be trying to learn the truth by studying each character simultaneously in two directions: on the outside and the inside. The same principle holds when the story is told of the deceased samurai spirit speaking through the prophetess, in which plastic is continued boiling emotions of the victim. The bulk of the screen time the submission takes the crime scene in terms of its participants and observers. One episode, repeated again and again, each time changes in the events, and in the nature. And the last witness, he is exempt from posturing and heroic pathos, turning into a terrible tragedy the characters lives. Which of these stories are true, we will not know, but we can understand the human drama played out in people's minds. Perhaps each of them is true in its own way, because one truth still does not exist!

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