December 27, 1951
Published: December 27, 1951
A doubly rewarding experience for those who seek out unusual films in attractive and comfortable surroundings was made available yesterday upon the reopening of the rebuilt Little Carnegie with the Japanese film, Rashomon. For here the attraction and the theater are appropriately and interestingly matched in a striking association of cinematic and architectural artistry, stimulating to the intelligence and the taste of the patron in both realms.
Rashomon, which created much excitement when it suddenly appeared upon the scene of the Venice Film Festival last autumn and carried off the grand prize, is, indeed, an artistic achievement of such distinct and exotic character that it is difficult to estimate it alongside conventional story films. On the surface, it isn't a picture of the sort that we're accustomed to at all, being simply a careful observation of a dramatic incident from four points of view, with an eye to discovering some meaning—some rationalization—in the seeming heartlessness of man.
At the start, three Japanese wanderers are sheltering themselves from the rain in the ruined gatehouse of a city. The time is many centuries ago. The country is desolate, the people disillusioned, and the three men are contemplating a brutal act that has occurred outside the city and is preying upon their minds.
It seems that a notorious bandit has waylaid a merchant and his wife. (The story is visualized in flashback, as later told by the bandit to a judge.) After tying up the merchant, the bandit rapes the wife and then—according to his story—kills the merchant in a fair duel with swords.
However, as the wife tells the story, she is so crushed by her husband's contempt after the shameful violence and after the bandit has fled that she begs her husband to kill her. When he refuses, she faints. Upon recovery, she discovers a dagger which she was holding in her hands is in his chest.
According to the dead husband's story, as told through a medium, his life is taken by his own hand when the bandit and his faithless wife flee. And, finally, a humble wood-gatherer—one of the three men reflecting on the crime—reports that he witnessed the murder and that the bandit killed the husband at the wife's behest.
At the end, the three men are no nearer an understanding than they are at the start, but some hope for man's soul is discovered in the willingness of the wood-gatherer to adopt a foundling child, despite some previous evidence that he acted selfishly in reporting the case.
As we say, the dramatic incident is singular, devoid of conventional plot, and the action may appear repetitious because of the concentration of the yarn. And yet there emerges from this picture—from this scrap of a fable from the past—a curiously agitating tension and a haunting sense of the wild impulses that move men.
Much of the power of the picture—and it unquestionably has hypnotic power—derives from the brilliance with which the camera of director Akira Kurosawa has been used. The photography is excellent and the flow of images is expressive beyond words. Likewise the use of music and of incidental sounds is superb, and the acting of all the performers is aptly provocative.
Machiko Kyo is lovely and vital as the questionable wife, conveying in her distractions a depth of mystery, and Toshiro Mifune plays the bandit with terrifying wildness and hot brutality. Masayuki Mori is icy as the husband and the remaining members of the cast handle their roles with the competence of people who know their jobs.
Whether this picture has pertinence to the present day—whether its dismal cynicism and its ultimate grasp at hope reflect a current disposition of people in Japan—is something we cannot tell you. But, without reservation, we can say that it is an artful and fascinating presentation of a slice of life on the screen. The Japanese dialogue is translated with English subtitles.