Rashōmon (film)

See also: Rashōmon

Rashōmon (羅生門) is a film Japanese carried out by Akira Kurosawa in 1950, according to the news of Akutagawa Ryunosuke.

Synopsis

In Japan of the time Heian (in the neighborhoods of the 10th century), during a civil war, four versions very different from a crime according to as many witnesses including that which perpetrated it and the phantom of the late one, convened by a Shaman.

Data sheet

  • original Title: Rashōmon
  • Realization: Akira Kurosawa
  • Scenario: Shinobu Hashimoto, A. Kurosawa, according to two news of Akutagawa Ryunosuke
    • Photo
  • : Kazuo Miyagawa
  • Decorations: So Matsuyama
  • Music: Fumio Hayasaka
  • Assembly: Akira Kurosawa
  • Kind: drama
  • Lasted: 88 minutes
  • Left: 1950
  • License: As opposed to what much believe (it is an urban legend on Internet), this film is not not in the Public domain. No film of Kurosawa will be in the public domain before 2036.

Rewards

Distribution

  • Toshirō Mifune Tajomaru, the gangster
  • Masayuki Mori Tashehiro, the samurai
  • Takashi Shimura the logger
  • Machiko Kyo Masago, the woman
  • Daisuke Kato the police officer
  • Fumiko Honma the witch

Comments

The western the insult of 1964 with in the high-speed motorboat Paul Newman, Claire Bloom and Edward G. Robinson is based on the same scenario.

  • " Reality each one has an idea. In the scientific and political speeches, in the conversations of the every day, we return in last authority to the supreme referent: reality. But where is this reality thus? And especially, does there really exist? Of all the illusions, most perilous consists in thinking that there exists only one reality. In fact, which exists, they are various versions of the reality, of which some can be contradictory, and who are all the effect of the communication and not the reflection of objective truths and éternelles" (Paul Watzlawick, " The reality of the réalité" , Threshold, Paris, 1976).

On the first physical level is the material reality of facts, gestures and words of the " crime". On the second physiological level is the sensory reality of the images and perceived sonorities. On the third psychic level is the imaginary reality of the significances and values conferred on the elements of the physical reality already directed and delimited by the sensory reality of the perception of the sounds and lights. On the fourth level symbolic system is the cultural reality of the beliefs of a Religion and codes of conduct of a Morale which direct and delimit the significances and possible values conferred on the facts, gestures and words of the physical reality already filtered and selected by the physiological reality of perceptions.

Thus, the same scene of the " crime" presents itself in four versions different after a cascade from interpretations, of " communications" various levels of reality.

This poses the problem of the testimony of a " scène" in the selection of the witnesses and the selection by the selected witness of various perceptions, significances and values which it tested " réellement".

In addition, same a " fait" physics does not become " événement" psychic that by its effects and repercussions in the spirit of the actors and spectators of the gestures and words.

Not only this film started the " news vague" cinematographic Frenchwoman of year 50-60 from the technical and esthetic point of view, but still it introduced the multiplicity from point of view of a beam compared to the univocal linear account.

See too

  • Rashōmon

External bonds

  • Rashomon on Internet Movie Database
  • Critique of the Clan Takeda
  • Télécharger the film on Internet Files
  • Voir the film on Google Video
  • Rashomon - French Official site

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