Rashômon (1950)

Note des utilisateurs:

8.5/10   

Réalisateur:

Akira Kurosawa

Writers:

Ryunosuke Akutagawa (stories)
Akira Kurosawa (writer) ...

Release Date:

26 décembre 1951 (USA)

Genre:

Crime | Drame | Mystery

Accroche:

The husband, the wife...or the bandit?

Plot:

A heinous crime and its aftermath are recalled from differing points of view.

Plot Keywords:

12th Century | Based On Short Story | Asia | One Word Title | Literature

Awards:

Nominated for Oscar. Another 7 wins & 2 nominations

Avis des utilisateurs:

What did we just see?

Ensemble

Toshirô Mifune	...	Tajômaru
Machiko Kyô	...	Masako Kanazawa
Masayuki Mori	...	Takehiro Kanazawa
Takashi Shimura	...	Woodcutter
Minoru Chiaki	...	Priest
Kichijiro Ueda	...	Commoner
Fumiko Honma	...	Medium
Daisuke Katô	...	Policeman

Autre(s) titre(s) :

In the Woods
Rasho-Mon (USA) (alternative spelling)
Rashomon (Japan) (alternative transliteration)

Durée:

88 min

Pays:

Japan

Langue:

Japonais

Couleur:

Noir et Blanc

Aspect Ratio:

1.37 : 1

Son:

Mono (Western Electric Recording)

Classification:

Australia:M | Argentina:16 | Canada:G (Quebec) | Chile:18 | Finland:K-16 | Spain:13 | Sweden:15 | Switzerland:14 | UK:12 | UK:X (original rating) | USA:Unrated | West Germany:16 | USA:PG-13 | Singapore:PG

Emplacements De Pelliculage:

Nara, Japan

Company:

Daiei Motion Picture Company

Anecdotes:

In the wife's vision, the music used was only available during post-production. Kurosawa and his editor was amazed when they found that the music corresponded almost perfectly with the action on the screen, and thus they didn't need to change the scene to make it match the music.

Guillemet:

Woodcutter: Selfish!
Commoner: What's wrong with that? That's the way we are, the way we live. You just can't live unless you're what you call selfish.

Movie Connections:

Referenced in "Punky Brewster: See You in Court (#4.9)" (1988)

What did we just see?

'People forget the unpleasant things. They only remember what they want to remember.'

In Rashomon the editing tells ½ of the story. It may feel experimental or unconventional, but Kurosawa perfects the concept second by second, directing and editing. This film didn't need a big budget to come perfectly to the point. It's a simple tale, but not a superficial tale. Different points of view and selective memories ('It's true! I saw it!') don't only make the woods unsafe, but are one of the most universal topics of humanity. 'We humans are weak creatures. That's why we lie, even to ourselves' says it all actually: it's about what people want to hear and when they start being interested at all, apart from wishful thinking. Selfish excuses vs trust in other people.

Rashomon gets masterful when in one instant there is literally a different point of view: the camera takes another position to shoot the same sequence, thereby forcing the audience to reconsider what they just saw. That is the sort of storytelling that the supposed masters of cinema in our time yet have to equal, or try to copy when they fail. Admitted 'Memento' (2000, Nolan) is a truly great one. Still not THAT universal. 'Pulp Fiction' (1994) didn't come close, 'La Commare Secca' (1962) also didn't. 'Ghost dog: the way of the samurai' (1999) touched another border of the concept, or does it?

The use of (non-original) music in my opinion reveals a certain interest for western influence, not only in Rashomon, but also in Kurosawa's forthcoming films, and is probably why his films were so influential on western filmmakers too.

The cinematography is dynamic and changes scene by scene to emphasize exactly what is going on. The shadows of leaves and branches, captured by cinematographer Kazuo Miyagawa, make you really feel 'in the woods', while the actors (Toshirô Mifune, Takashi Shimura) convince the remaining part of the audience (which adds up to 100% breathless viewers). It may be after days that you first realize you saw an important film. After weeks you realize that you must see it again to comprehend (despite it's only 85 min), and ironically that is just one of the crucial points that Kurosawa made. 10/10