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Crime, Drama, Mystery 88 min NR
Rotten Tomatoes98%Metacritic98IMDb
The husband, the wife… or the bandit?
Four people recount different versions of the story of a man's murder and the rape of his wife.
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Prestige, intimate, meticulous and open-ended.
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Written by TMDB members; each links to the original. Not part of Taste Buds's numbers.
I rarely ever give a film a perfect score, but undoubtedly Rashomon deserves it. I first watched this film at the tender age of 8, so 6 years ago now, and it has lodged deep in my head ever since. The film is beautiful in a way no other film is, and the sculpting of each character is simply perfect. It's an idea which I refuse to call a murder mystery, since it's not asking to be solved. For some not knowing is displeasing, but the film's message is that truth cannot always be discovered. You could go further and ask what truth even is! Who is telling the truth? And can truth change? The acting, especially from Mifune, is awe-inspiring. The gorgeous shading and cinematography creates an immersive experience that washes over the viewer. The power of the film is beyond words, and I have no hesitation giving it the title of my single favourite film of all time. But then again, I'm only 14. I have time.
Read the whole review on TMDB**A good movie.** Despite acknowledging the quality and attention to detail, I can't really enjoy Japanese cinema. Maybe because it's so different from what we have around here. But even being so different, we have to recognize the talent of those who have it. Akira Kurosawa is a director with a sharp eye and detail, who knows how to direct the people under his command and extract from each one what he needs for the film he has in hand. This film seemed to me to be a lot more complicated than it would have been presumed, and I must say that I decided to watch it without knowing very well what I was going to find. Sometimes it feels good to discover something and let yourself be surprised, doesn't it? The story revolves around a crime committed in the middle of the forest, in which a very rich nobleman dies, and the film explores very well the nuances between the versions of the facts, told by various actors. However, the relativity of truth, which Kurosawa ends up defending in his film, I cannot help opposing the precision and absolute reality of the facts. If Kurosawa thinks that there can be several truths around a fact, I personally prefer to defend that there can be several per
Read the whole review on TMDBIn what seems like an endless, almost biblical, rainstorm we meet three people sheltering in the ruins of an old gatehouse. Each has their own story to tell of the rape of a woman and of the murder of her husband. It was the woodcutter (Takashi Shimura) who discovered the body and who alerted the authorities. It was those authorities that conducted a trial at which a priest (Minoru Chiaki), the woodcutter, the widow/victim (Machiko Kyô); the ghost of her deceased Samurai husband and, finally, the renowned bandit "Tajômaru" (Toshirô Mifune) are required to testify. We are shown manifestations of each testimony: all smilier but different. Who were the two victims? Was he honourable and decent? Was she demure or a temptress? Are those testifying embellishing what they saw, what they did? What makes this film great is that there doesn't appear to be a right answer. Each version is plausible, nobody is entirely trustworthy and at the end of each story, you could easily agree that was an accurate report on the turn of events. Accompanied by the relentless sound of the rain and by a soundtrack that reminded me very much of Ravel's "Bolero" we explore each permutation with some super perfo
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Closest on the same fourteen dimensions, from everything scored on Taste Buds. Other media included when they land close.
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“Is this Akira Kurosawa's best work?”
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19 profiled raters. Loved most by The Prestige Hunters; disliked most by The Sinceres.
If you loved this film, the television, the book, the music, the game.
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