Overall Rank: 110
Average Rating: 3.3/4
# of Ratings: 209
Theatrical Release Date: 08/25/1950
Genre: Drama, Crime
MPAA Rating: PG-13
Director: Akira Kurosawa
Actors: Toshirô Mifune, Machiko Kyô, Masayuki Mori, Takashi Shimura, Minoru Chiaki, Kichijiro Ueda
Plot: A crime is told from four different points of view, through different people - but which version is the truth?
Quick Movie Reviews
Amy - wrote on 01/02/2014
subtle and compelling, for the most part, but some of the crying and fighting scenes went on a really long time.
mitchellyoung - wrote on 09/02/2011
Proof of Kurosawa's brilliance - a story that succeeds on all levels: storytelling, dialogue, believable performances, and inventive shot selection. The "multiple perspectives" device is used in a way that serves to reveal more about the characters, not act as a cheap gimmick.
Bribaba - wrote on 05/28/2011
This was the first non English language film I'd ever seem - and I never looked back. It was a revelation and led me to track all Kurosawa's films. It's multiple POV structure and relativity of truth looks a little passe now, though it still packs a punch. A great director who is still revered in Japan, not least by his structural opposite Takasi Miike.
Full Movie Reviews
SteelCity99 - wrote on 04/28/2018
To talk about influential, landmark and legendary filmmaking may include those masterworks that had an extraordinary visual grandiosity and a groundbreaking narrative structure. Names like Sergei M. Eisenstein, Jean Renoir and Orson Welles will be mentioned, and their effects on the subsequent decades of moviemaking will be emphasized. Strictly speaking, Rashômon is not an entirely original film. It heavily relies on the unconventional chronological mixture that Orson Wells first employed in Citizen Kane (1941). Despite this inevitable fact, it is one of the most astonishing cinematic samples of the Eastern culture, and easily one of the best films ever committed to celluloid. What Akira Kurosawa managed to do with such a ludicrously low budget and few technical experience is a …
cinegeek.de - wrote on 03/10/2016
Kurz vor dem Dreh von Rashomon sprachen Kurosawas drei Co-Regisseure bei ihm vor. Sie waren unglücklich, da sie das Drehbuch nicht verstanden hatten. Kurosawa soll sie ermutigt haben, es noch einmal zu probieren - es sei verständlich! Sie waren sicher, es genau studiert zu haben. Ohne es zu verstehen. In Kurosawas Biographie (Something Like an Autobiography) kann man nachlesen, wie er ihnen Rashomon erklärt. Diese Erklärung wurde auch im Booklet der Criterion DVD abgedruckt. Zwei der Co-Regisseure waren anschliessend zufrieden, der Dritte nicht: Es gab einen Mord, vier Augenzeugen, aber keine Lösung. Die Berichte der vier Augenzeugen passen nicht zusammen. Jeder beansprucht für sich, der Mörder zu sein. Dem Studio gefiel Rashomon ebenfalls nicht, dass es sich sogar selbst aus den Credits …
Looneymanthegreat - wrote on 04/02/2013
A Fascinating depiction of distorted reality Rashomon is Kurosawa’s best movie. It shows the events of a mans death as seen by several people, all of which have accounts that only slightly resemble each other. I really just love the lack of convention in this movie. Sure seeing the same events from different angles is nothing new now, just look at Vantage Point, but no movie had really done it before Rashomon, and no movie has done it as well since.
The film has an iconography to it. The shot’s of the sunlight coming through the tree’s, the Rashomon gate in the rain and the characters looking into the camera telling the story from their angles are all iconic images that stick in the brain. The film is shot like a painting. I could probably put any random still from this movie, …
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