Rashomon ★★★★½

Akira Kurosawa Binge Part I of IX

Yeah, I get it. It be difficult sometimes to betray a “bro.”

EXTRAORDINARY! The interlacing between the characters/suspects telling possibly false stories and the striking visuals to accompany these narrations make for an exhilarating experience. The beauty but also the immorality of Rashomon comes with its knack to wrap you up in four different tales despite the fact that you subconsciously know that three of them—or maybe even all of them—have to be a lie. Either way, each story has a distinct philosophical effect on the audience, furthermore, putting into action what our own selves would perceive or commit during such deviant crimes as described in the four perspectives that tackle just one event. My only qualm with Rashomon is the last fifteen minutes of the movie, which essentially recite the themes of the film but through barefaced dialogue and convenient scenarios.  

Sidenote: The “medium” sequence is intensely unique. The audio-work in it would technically be classified as “trashy” by today’s standards, but in a way, the disarray in its sounds add a lot of horrific depth to the scene. 

All in all, I’ll be adding this wonderful little Akira Kurosawa movie to my cursed list of “films that make straight men cry because it teaches us that whoever can use their ‘sword’ better will always get the girl.” Thank you, Hellraiser, for introducing me into this obscure genre of cinema. 

🎖 Verdict: A- 

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