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Rashomon: Film Analysis

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Rashomon Analysis Truth and lies are blurred in the film Rashomon where the contradiction of a person’s system of belief and actions are in a constant conflict. Characters in the film are faced with the offer of committing wicked and corrupt acts that clatter with their morals and principles. The film takes the form of an observational puzzle without an answer, engaging unreliable narrators and flashbacks through which recollection and reality become suspect. This has inspired several plots in other movies, as well as causing the courts of law to make use of the term “the Rashomon effect” to describe the tendency of testimonies clashing with each other and creating a perplexing mystery. Akira Kurosawa’s Rashomon tackles with the issue of subjective…show more content…
The whole film is recounted by undependable narrators, which in the end no truth can be determined. And yet, because none of the recitation can be reconciled, not even the woodcutter’s testimony, the film becomes a story of untrustworthy narrators from whom no truth can be concluded. Some form of optimism exists at the film’s conclusion, but the degree to which it can be accepted as true depends largely on the opinion of the viewer. This indeterminable vagueness continues as the film’s most captivating quality, in that connotation cannot necessarily be construed from the events in the picture, at least not within the story itself. More than one of the testimonies, if not all, together with the woodcutters, must be untruthful. The absurdity is that they aren’t lying only to the authorities; they are lying to themselves. These lies could leak into other extents of their life. For, if they continue to have confidence in the lie, they will misrepresent reality and may never be able to distinguish the fact from the fib if they continue to do so as they did in their…show more content…
The Rashomon film can be construed as a gateway between good and evil, dead and alive. The collisions of humanity that transpire in the film, and its crumbling state elucidates the fact that the discrepancy of good and evil became blurred. In the film, the camera is facing the sun, which at the time it was unheard of, through the trees. A seamless allegory to define people’s congested impression of truth as filtered through defective sources, the light glimmering through the leaves in lovely glimmers, but the sight of the sun distorted nonetheless. So, too, does the rain embody a pictorial misrepresentation of reality. When the woodcutter is telling his story during a downpour, the rain characterizes the misperception and sorrow he feels about his story. In the end, the storm discontinues as the woodcutter attains some clearness and is determined to deposit his hope in the infant child, the coming future. This symbolizes that the woodcutter decided to choose what is right instead of the wrong. The light shown through the gate suggest hope for the future, and the rain, a symbol of misfortune had passed. This is all unlike the commoner who, after stealing the kimono from the baby, departs into the downpour as a decision that he will continue to repudiate the demand to do what is
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