
A priest, a woodcutter and another man are taking refuge from a rainstorm in the shell of a former gatehouse called Rashômon. The priest and the woodcutter are recounting the story of a murdered samurai whose body the woodcutter discovered three days earlier in a forest grove. Both were summoned to testify at the murder trial, the priest who ran into the samurai and his wife traveling through the forest just before the murder occurred. Three other people who testified at the... (Full plot summary below)
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A priest, a woodcutter and another man are taking refuge from a rainstorm in the shell of a former gatehouse called Rashômon. The priest and the woodcutter are recounting the story of a murdered samurai whose body the woodcutter discovered three days earlier in a forest grove. Both were summoned to testify at the murder trial, the priest who ran into the samurai and his wife traveling through the forest just before the murder occurred. Three other people who testified at the trial are supposedly the only direct witnesses: a notorious bandit named Tajômaru, who allegedly murdered the samurai and raped his wife; the white veil cloaked wife of the samurai; and the samurai himself who testifies through the use of a medium. The three tell a similarly structured story - that Tajômaru kidnapped and bound the samurai so that he could rape the wife - but which ultimately contradict each other, the motivations and the actual killing being what differ. The woodcutter reveals at Rashômon that he knows more than he let on at the trial, thus bringing into question his own actions. But another discovery at Rashômon and the resulting actions from the discovery bring back into focus the woodcutter's own humanity or lack thereof.
Leave your thoughts about Rashomon.
| The A.V. ClubScott TobiasEvery element in the film, from the dense thicket of forest branches to master cinematographer Kazuo Miyagawa's deceptive framing and lighting design, is precisely calibrated to make the facts more difficult to discern. |
| Alternate EndingTim BraytonA top-to-bottom miracle of a film, burly in its philosophy and graceful in its style. |
| Wisconsin State JournalRob Thomas"Rashomon" may be a prosecutor's nightmare, but it's a film lover's dream. |
| Washington PostMichael O'SullivanRashomon has had such a profound cultural influence that there is even a psychosociological phenomenon named after it. |
| Chicago ReaderJonathan RosenbaumFilm is still an impressive piece of work, visually and rhythmically masterful. |
| Combustible CelluloidJeffrey M. AndersonI suspect that most people who come to Japanese cinema first enter it through Kurosawa. |
| New TimesLuke Y. ThompsonA classic head-game of perception versus reality. |
| Chicago Sun-TimesRoger EbertThe wonder of Rashomon is that while the shadowplay of truth and memory is going on, we are absorbed by what we trust is an unfolding story. |
| Kansas City StarDan LybargerThere is so much content in its 88-minute running time that even careful viewers feel their heads spinning when they first see it. |
| Q Network Film DeskJames Kendrickdespite the many imitators, no one has quite duplicated the power and gnawing unease of this challenging film |