By Team Rashomon RASHOMON

Why do we love Rashomon so much? ‘Rashomon is an excellent film because the non linear narrative which creates the idea of mystery and it makes the audience have to really concentrate on the film the whole way through.’ – Kyle Borg. ‘Rashomons representation of characters as neither good nor evil is a very interesting addition to the film; and is one of the reasons why I enjoy it.’ – James Pullen. ‘I enjoy the unique cinematography of Rashomon. Also I enjoy Toshiro Mifune acting.’ – Jacob Mansfield. ‘Rashomon is a symbol of new beginnings.’ – Ryan Ropke. ‘Rashomon was alright’ – Ben Bateson.

Rashomon Facts Written and Directed by Akira Kurosawa A Jidiageki film – set during the Heian period of Japanese history Starring Toshiro Mifune – known for working with Kurosawa on 16 different films and this was his first appearance to date in a Kurosawa film. The first film to have the camera point at the sun. The rain at the gates couldn’t be seen in test footage so Kurosawa added ink to the water so the rain can be seen in front of the grey sky.

Critical Reception

Themes Supernatural Sin Guilt Murder Family Honor Redemption Combat Truth Masculinity ‘Good wife, wise mother’ doesn't’t fit because she isn't a good wife as in one version she leaves him to kill himself after she leaves with for bandit.

Messages and Values Even though you can do a lot of bad in your life, it is the good you do that counts the most. The full truth is never obtainable. Women pay for the sins of men. The greed of men results in the downfall of women. You can redeem yourself after sinning by performing a good deed.

Representations The representation of Samurais as honorable which differs from other Japanese films such as Kuroneko in which Samurais are seen as dishonorable and as rapist and murders. Rape is represented in Rashomon as something that is done so easily as the bandit just does it because he’s bored and wants to have sex with her. Greed is represented as something that is mainly seen in men and they use this greed in order to effect women and use them to get what they want. Class is represented in Rashomon by the height difference in one shot when the bandit (the lower class) is sitting on the floor, where as the higher class Samurai and his wife are standing or sitting high up on the horse.

Opening Sequence The opening is a montage of Rashomon gate, broken and dilapidated. Heavy rain pores down upon the gate. It’s a sad, depressing opening which sets the tone of the film. The rain is a common addition throughout and represents the ‘storm’ hanging over Japan after the Second World War. The battered gate also expresses this idea of Japan in the 50’s by reflecting its war torn and damaged state through the film. The non- diegetic music during this opening uses traditional Japanese instruments of the Heian period to add to an opening that instantly sets the scene in ancient Japan. We soon see two men sitting within the ruins, hiding from the rain. They look upset and have grim looks on their face, which fits with the already moody feel of the film so far. They begin to reference a terrible event and talk about how they ‘don’t understand’ this is an example of the enigma code as we as the audience want to learn what has happened. This draws us into the story, like the hook of a book.

Opening Sequence Continued Another man then runs to the ruin from the rain. The camera follows behind him with over the shoulder shots as if we, the audience are following him. This shows that he represents us. He wants to hear what has happened just like we do… he is our ‘representative’ in the film. The two men begin to recount the story to the other, unnamed man. We start by seeing the woodcutter walking through the forest. A shot of the sun represents the fact that this was before the rain came, before the horrible event, before the war etc. The woodcutter walking through the forest in a very long scene as we see him going deep into the woods. The light shines through the leaves and projects patters on the woodcutters face representing the fact that he is neither completely good (the light) or completely bad (the dark). It shows him as a 3 dimensional character.

Middle Sequence The middle sequence consists of a shaman’s tale of the event, with the deceased samurai possessing the body in order to convey the tale. This reflects the theme of the supernatural within Japanese Cinema. The mis-en-scene of the Shaman character reflects the popular Japanese image of particularly bold eyebrows which usually indicates either a supernatural or evil character. The use of flashbacks portray the non linear narrative of Rashomon. The use of the diegetic Thunder and Lightning reflects the pathetic fallacy of the sequence. Half the face of the wood cutter is seen, he hides the rest which reflects that he has something to hide. The Samurai doesn’t look at the thief until he is cut free, representation of the Samurai’s dignity to not look in the eyes of his killer. There is visible wind but no noise can be heard as though there is a supernatural element to the scene.

End Sequence The ending of Rashomon is very much a symbol of new beginnings. natural lighting is used throughout the film and last sequence especially, adding to the fact with the mirrors creating a reflection of the natural light in important places. The light shining on the sword for example. Before the bandit does the killing blow on the husband, which isn't seen due to the time of the film was made during the 1950s japan with censorship playing a part in the golden age, restricting films with the explicit violence they can contain. High contrast lighting used to cover half the bandits face (Tajomaru) perceiving the fact he is in two mindsets and has a split personality. He then backs out into a well lit environment when he comes to terms with what he has done- falling to the ground in the process. A series of POV shots from the woodcutter looking at the bandit on the floor, catching his breath. The bandit goes off screen to look at the samurais dead body’ as he backs away with shock he limps off with his swords. The non linear narrative of the film continues as we then skip to present day as Rashomon Gate.

Context There were Americans who occupied Japan after world war II however they eventually left in 1950 and in doing so Japan was allowed to express art and free them from cruel censorship which denied expressionism within certain topics. Samurai’s and violence was not allowed along with any mention of war. Rashomon is a hallmark in Japanese film history due to it being the first film released after the censorship was lifted, hence the presence of war, murder, samurai and rape.