Rashomon

Rashomon (1950) is the fourth Akira Kurosawa film I've seen, and it produced a reaction identical to the other ones: respectful indifference. This comment applies equally to Rashomon, Ran, The Seven Samurai and Yojimbo: it's unquestionably a good movie and a well-made one, but not one that I would consider a masterpiece. Perhaps the lesson to be drawn is that I should move away from samurai movies.

In medieval Japan, a samurai (Masoyuki Mori) is killed and the woman (Machiko Kyo) he's protecting is raped by the bandit Tajomaru (Toshiro Mifune). Beyond that, conflicting testimony by the bandit, the woman, an eyewitness (Takashi Shimura) and even the dead samurai's spirit cast doubt on what really happened, until the philosophical viewer wonders if there's any truth at all.

Rashomon is primarily a concept film, and makes the most of its conceit. Each telling of the story is drastically different, not only in recounting events but in tone and style. In Tajomaru's account of events, it's a lusty, swashbuckling epic with heroic personages battling for the pleasure of a woman; for the victimized woman, it's a shameful melodrama of rape and torment. The woodcutter's version is a pointed pastiche of machismo, with a duel between wimpy, clumsy swordsmen and a woman who turns from cry-baby to she-bitch at the drop of a hat. This does an interesting job of questioning the objectivity of "truth" and knowledge, and fortunately the film is entertaining as well as philosophical. It should not come as a surprise that the basic story has been remade countless times, from The Simpsons to One Night at McCool's, but the original remains the best.

Kurosawa's direction is assured, utilizing different styles and for each store. The movie is full of striking visuals, with a great use of leaves, weapons and rain to block a clear view of events, and the film moves at a brisk pace. Toshiro Mifune is his usual boisterous self; he's fine up to a point, but his constant cackling grates on me after awhile. Of the remaining cast, Machiko Kyo's shifting interpretation of the woman, from weepy crybaby to tough feminist to black widow, comes off best.

Rashomon is another solid Kurosawa film that I can't proclaim a personal favorite. Perhaps Ikiru or Red Beard will do the trick? If not, I'll revert to my plebeian Anglophilia and stick with Powell and Pressburger, eh wot?