Rashômon (Rashomon) (In the Woods) (1951)

Featured Audience Ratings

• Robert C

  
  Beautifully shot. Great premise/story. I can appreciate why this film is held in such high esteem...but it felt a little convoluted to me, to spite it's fairly short running time.

• c0up  

  
  'Rashomon'. A landmark film by Kurosawa in his clever telling of a story from four contradictory, but very plausible perspectives, exploring honesty, honour and the goodness of man.

• Melvin W

  
  Rashômon was the first Kurosawa film I have seen and I am completely stunned at how engrossing it is. The use of flashbacks to tell the different stories is brilliantly done. We have no idea which is true. The movie is haunting and beautiful in the way it is shown. There are long,… More
  Rashômon was the first Kurosawa film I have seen and I am completely stunned at how engrossing it is. The use of flashbacks to tell the different stories is brilliantly done. We have no idea which is true. The movie is haunting and beautiful in the way it is shown. There are long, silent stretches, but they aren't boring, they are insightful. Kurosawa had balls to make this movie, to show us the same event, from contradicting viewpoints. I wish more movies were this inspired in the point they are trying to get across.

• Jim H

  
  Once again, Kurosawa's strength is his remarkable ability to fit so many round characters into an eighty-eight-minute film. Each character, at least initially, gives us reason to doubt his/her credibility, and their flaws are as interesting as their admirable qualities. The… More
  Once again, Kurosawa's strength is his remarkable ability to fit so many round characters into an eighty-eight-minute film. Each character, at least initially, gives us reason to doubt his/her credibility, and their flaws are as interesting as their admirable qualities. The story relates the rape of a woman and her husband's murder through the eyes of four different characters; obviously each account differs. The basic premise of the film suggests that human perception is ultimately limited by our arrogance, prejudice, and the frailty of our memory. This isn't a post-modern statement about the immutability of truth; everything seems rooted in character. Kurosawa wants us to walk away from the film without knowing what "really" happened. Except we're never given a solid reason to doubt the last story told. The man strips himself of arrogance and prejudice, and his recollection of details belies any frailty of memory. So, yes, I do think I know what really happened. I see this as a mild inconsistency in the film's message. Additionally, there is a small character who plays quite a significant role in the conclusion, yet I wondered where s/he came from. What is more, I often thought the moments of silence were too drawn out; what needed to be accomplish was ... five seconds ago. Overall, Kurosawa is clearly a superior filmmaker, one who changed the medium forever, but this film would be the highlight of any other director's repertoire, not his.

• Ken S

  
  Why did I wait so long?

• AJ V

  
  An interesting story presented in an unique way, this is one of the best movies I've seen so far from Japan, and I highly recommend it.

• Dan S

  
  A stunning achievement in film-making. Kurosawa fully captures a dark, rainy atmosphere in which to tell a disturbing masterpiece, a story concerning a woman who is raped, and how her husband is murdered following the attack by a vile bandit. Kurosawa populates his piece with… More
  A stunning achievement in film-making. Kurosawa fully captures a dark, rainy atmosphere in which to tell a disturbing masterpiece, a story concerning a woman who is raped, and how her husband is murdered following the attack by a vile bandit. Kurosawa populates his piece with interesting, very emotional characters who are very affected by the events they are exposed too. It's a rare film in the sense that it doesn't give its viewers all the answers by the end of the picture - but this is absolutely the right move in accomplishing an incredibly grim but intense finale that feels satisfying even though it really isn't in a way. While this isn't the best film Kurosawa ever did ("Seven Samurai"), it's certainly one of the best films of the 20th century by far.

• Conner R

  
  For being one of Akira Kurosawa's earlier projects, it's extremely impressive and original. Looking at an event from different perspectives had been done before, but not in a way like this. It's interesting to see how much the characters change throughout their various… More
  For being one of Akira Kurosawa's earlier projects, it's extremely impressive and original. Looking at an event from different perspectives had been done before, but not in a way like this. It's interesting to see how much the characters change throughout their various incarnations, especially the wife being frail to a cold hearted she-devil. While this does like the giant emotional impact of Kurosawa's later works, this has an extremely strong message and is more fast paced than a drawn out epic.

• Drew S

  
  Rashomon's greatest virtue, its construction, has been strip mined over the last sixty years by every film maker ever. Not to sell it short; it is truly great, and a totally involving plot. The evolution of film is an exercise in taking the aspects that work, however, and despite… More
  Rashomon's greatest virtue, its construction, has been strip mined over the last sixty years by every film maker ever. Not to sell it short; it is truly great, and a totally involving plot. The evolution of film is an exercise in taking the aspects that work, however, and despite Rashomon's sacred cow status in the art house, there are a lot of parts about it that no longer work. Though it can all be chalked up to age and the fluidity of perspective on what a film should be, there are certain aspects of the movie that will hold up only for the most sympathetic of viewers. The acting is technically proficient, in that Kurosawa's cast knew what they were doing and had considerable control, but these days it looks awfully overdone. Toshiro Mifune as the bandit Tajomaru is an embarrassment, but it is a true test of endurance to get through Machiko Kyo's incessant, unbelievable wailing. About ten minutes of this movie's 90-minute runtime is watching her cry at the top of her lungs, which is a pretty gripping character trait at first, if only through her portrayal. But then it goes on...and on...and on. It stops building the character eventually, and unless Kurosawa's intention was to bug the shit out of the viewer, the overactive framing of his actors is one of the aspects of Rashomon that hasn't come out so well. The second problem is a consistent one in Kurosawa films - the man is SO FUCKING OBVIOUS with his themes. It's like he's writing the script in crayon. There's no breathing room for implication or subtext here, when Kurosawa is all but spilling his intentions and secrets through the mouths of his characters. If you weren't sure as to what the movie was about for the first hour and ten minutes, the nonstop morality monologuing will be sure and clear that up for you in the final ten. Again, this is more a reflection of the times than an immediate and remediable weakness in the film itself, but there's little stimulation to be found within the film's writing. Distinct and innovative, Rashomon makes for a decent mystery, but as modern entertainment or even a deep film, it's not much of an investment anymore. It's not that its problems make it difficult to appreciate, but for a classic, it's pretty easily left in the dust in some regards. Kurosawa's efforts hold up best in his assembly of the movie. His vision is clearly meticulous, especially demonstrated through the stunning cinematography, and though some aspects don't hold up as well as others it is still a significant film for any avid fan of the medium.

• Carlos M

  
  An intriguing mystery masterly crafted by Kurosawa, showing how much about human nature can be hidden in several versions of the same story, each told by one different person involved.

• First L

  
  Akira Kurosawa's story of a murder/rape is told by the victim, her husband's ghost and the criminal who committed the acts. Naturally, each one of the characters makes themself look valiant/noble while making the other two participants look dirty, cheap or evil, but the… More
  Akira Kurosawa's story of a murder/rape is told by the victim, her husband's ghost and the criminal who committed the acts. Naturally, each one of the characters makes themself look valiant/noble while making the other two participants look dirty, cheap or evil, but the truth is a little less favorable to any of them. The crazed criminal knows he's going to hang, and yet his pride won't allow him to make himself look less than amazing. Even stranger, the ghost of the murder victim (as channeled by a medium) makes up a scenario where he is the most honorable (even in the afterlife, people continue to be vain). It's the woodcutter's version of the story that seems most truthful, though. Actually, all of the versions of the story are being told by the woodcutter, who's sitting in the rashomon with the priest and the traveller, giving the account of the recent trial and the crime which he witnessed. For all we know, he could be making the whole thing up. The story-telling is topnotch and the film moves along briskly. It's a well-crafted piece of cinematography and well-deserving of the accolades it receives.

• Cindy I

  
  A story of what happens when an event witnessed by four different people is described in completely different ways, and someone's life is at stake in the telling. One of Kurosawa's best. UPDATE: Just saw this again on a HD television. Even though the film obviously… More
  A story of what happens when an event witnessed by four different people is described in completely different ways, and someone's life is at stake in the telling. One of Kurosawa's best. UPDATE: Just saw this again on a HD television. Even though the film obviously wasn't filmed in HD or any digital format, the film took on a depth and a detail I"ve never noticed before. It's almost as though I was participating in the film as one of the witnesses.

• Anthony L

  
  Rashomon is visually stunning, particularly the composition of the court hearing scenes and the scenes with the three men sheltering from the rain. It's not my favourite Kurosawa film but it's probably my favourite Toshiro Mifune performance (although I love him in… More
  Rashomon is visually stunning, particularly the composition of the court hearing scenes and the scenes with the three men sheltering from the rain. It's not my favourite Kurosawa film but it's probably my favourite Toshiro Mifune performance (although I love him in everything he's done). Ultimately it's spoilt by an 'over the top' introduction which is a little misleading but that's just a niggle really. This is another example of a genres invented by Kurosawa with ideas and structure that has been copied ever since.

• Jennifer D

  
  Another film classic must-see.

• danny d

  
  i liked this film a lot. this is considered one of kurosawas 5 greatest films, and i wouldnt even put it in my top 8 of his, but it was still very good. i think most respect this film so much because it was the film that catapulted kurosawa to stardom, and i can see how. mifune and… More
  i liked this film a lot. this is considered one of kurosawas 5 greatest films, and i wouldnt even put it in my top 8 of his, but it was still very good. i think most respect this film so much because it was the film that catapulted kurosawa to stardom, and i can see how. mifune and shimura were great as always and the story was very compelling. ultimately, its a story about liars and thieves and the reality that most people in this world are not to be trusted. the last fight scene was weak, but most of this film was great. more brilliance from akira kurosawa.

• Tim S

  
  My favorite Akira Kurosawa film that I have seen so far (I haven't seen a lot of his work unfortunately). The way the story was told was ahead of it's time and has been copied way too many times in disgraceful ways. The cinematography was gorgeous and I loved each telling of… More
  My favorite Akira Kurosawa film that I have seen so far (I haven't seen a lot of his work unfortunately). The way the story was told was ahead of it's time and has been copied way too many times in disgraceful ways. The cinematography was gorgeous and I loved each telling of the story the more I watched the different versions. It unfolds in a really cool way to give different dimensions to each person telling it. It's a damn shame that someone takes this is as some kind of story technique and destroys it with simplistic variations. After reading about the history behind the film, it makes it more powerful. I just don't understand why we can't just admire it or, at the very least, do a version that is more of an homage than a robbery.

• Pierluigi P

  
  The peak of Kurosawa's filmography. A moral tale that relates human existence. A cornerstone in the use of narration and editing.

• Jennifer X

  
  If I think about it really really hard, the story was actually kind of ingenious, but I was so annoyed by Kurosawa's plodding, slow, Asian style I was never able to appreciate said genius. I'm gonna get slaughtered for this, but I think this movie needs a remake...maybe not… More
  If I think about it really really hard, the story was actually kind of ingenious, but I was so annoyed by Kurosawa's plodding, slow, Asian style I was never able to appreciate said genius. I'm gonna get slaughtered for this, but I think this movie needs a remake...maybe not so much more a "Hollywood" as less knowingly arty. I guess I'm just not a big fan of Japanese films, can't help it.

• Kalel J

  
  A deep philosophical study embedded inside of an intrinsic narrative, Rashomon shows itself as a rumination on lies, deception, and the commonplace they hold in our deteriorating society. While Rashomon holds heavy subject matter and shines a relatively harsh light on humanity, it… More
  A deep philosophical study embedded inside of an intrinsic narrative, Rashomon shows itself as a rumination on lies, deception, and the commonplace they hold in our deteriorating society. While Rashomon holds heavy subject matter and shines a relatively harsh light on humanity, it holds a form of levity through its bumpy score to its near whimsical characters, which manages to an act as a brilliant overlay highlighting man's ignorance of the meaning of truth. To lie is to step into immorality - yet it remains an ideal sorely lost to the larger community. Kurosawa's film of a looping story being retold is a fascinating and wide depiction of a very simple premise. The film is something to treasure as a piece of cinema that seems to grow with time.

• xGary X

  
  Three travelers shelter from the rain at abandoned Rashomon gate and tell the tale of a murder trial they have just witnessed. Akira Kurosawa's stunningly clever script is years ahead of it's time, tackling subjects as diverse and profound as the nature of truth, self image,… More
  Three travelers shelter from the rain at abandoned Rashomon gate and tell the tale of a murder trial they have just witnessed. Akira Kurosawa's stunningly clever script is years ahead of it's time, tackling subjects as diverse and profound as the nature of truth, self image, gender politics, psychology and the "butterfly effect" (four decades before chaos theory became accepted). As the same story is told from four different perspectives, it becomes obvious how a story can never be entirely objective; even the "impartial" witness has a hidden agenda when recounting what actually happened. As such it can be seen as a direct influence on the likes of Jackie Brown, Memento and The Usual Suspects and everything in between. The performances are all great as each retelling of the story gives each character a slightly different personality, especially Toshiro Mifune's melodramatic and heroic "battle" that bears little resemblance to real events. Kurosawa's fantastic sense of composition is also in evidence as each shot resembles a beautifully framed photograph, although at some points (particularly at the beginning) the visuals can seem a little self-consciously "arty" which gets in the way of the narrative a little. I also found the storyteller's opportunity for redemption at the end a little convenient, but these are comparatively minor points. Another classic from arguably the greatest film maker who ever lived.

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