Rashomon (1950)
Directed by Akira Kurosawa
Four people recount different versions of the story of a man's murder and the rape of his wife.
21 connections found
View:
21 connections, in both directions
What critics compared Rashomon to
…using what film buffs would call a Rashomon structure, named after the Japanese film best known for the now-familiar device of replaying the same events from different perspectives.
Ese cartel es, definitivamente, lo contrario a Rashomon.
…by employing a Rashomon-inspired approach to developing the narrative…
While Jager’s book leaves no ambiguity about what befell Marguerite de Carrouges, the film takes a Rashômon–style consideration.
…the film follows a Rashomon/The Handmaiden look at a single event, the rape of Marguerite de Carrouges (Comer) by accused attacker Jacques Le Gris (Driver)…
The Last Duel takes the Rashomon route of telling the story from three different points of view…
What worked for Akira Kurosawa’s “Rashomon” (1950) doesn’t connect in the same way here.
If you’ve seen Akira Kurosawa’s Rashomon (1950), then you have an idea of what Bigelow is aiming for here…
Conceptually A House of Dynamite would appear to have the structure of 21st century realpolitik Rashomon parable: the same story told from such divergent and conflicting perspectives that it suggests a greater truth that remains elusive for one and all.
It isn't a "Rashomon" effect, where we get different interpretations of the same event, but a filling in of background from different angles.
Rather than simply adopt the standard Rashomon template…
A House of Dynamite uses a Rashomon-style structure, showing the same sequence of events from various points of view.
Cregger dispenses with a 3-act format and chooses instead to tell the story non-linearly from the perspectives of 6 different characters, Rashomon style.
Cregger applies a Rashomon-esque story structure to this suburban sprawl of WiFi doorbells and lite beer.
The art of perspective propels the story as it's framed in a Rashomon-style fashion.
Their points of view don't always line up, and while those Rashomon-like deviations hint at a possibly more interesting film…
The point isn’t a Rashomon-esque rumination on truth…
…but also in the multiple vantage point style established by the seminal 1950 film Rashomon for which the titular psychological effect was named…
Johnson embraces and extends George Lucas’ original Akira Kurosawa fetish, incorporating visual nods to Kagemusha and Ran while borrowing a bit of Rashomon for the most important backstory reveal.
One scene is replayed three times with different interpretations but it’s hardly Rashomon and a movie this long can’t afford to dawdle.
Luke's selfish reasons for tutoring Rey, along with multiple Rashomon-like flashbacks revealing the betrayal of his former apprentice, Kylo Ren (Adam Driver), reflect a modern-day cynicism that fans of the original Star Wars trilogy might find jarring (but not Jar Jarring, fortunately).
And her unexpected connection with Kylo (they’re on a first name basis now) complicates matters, as does the Rashomon like retelling of what really went down at Luke’s doomed Jedi academy.
It leads to a series of flashbacks that might have come across as contrived in lesser hands, but Johnson conceives these past skeletons as a “Rashomon”-like puzzle.
This is explained to Rey by both Skywalker and Ren, with Johnson cleverly using a “Rashomon”-like storytelling style to do it.
Advertisement
As such, the movie has its moments, some of which are bold, ripsnorting fun, nicely recalling the hypnotic greatness of Akira Kurosawa’s “The Seven Samurai,” “Ran” and “Rashomon,” while other moments are just plain dumb, heavy-handed and awful.
Having already paid tribute to Kurosawa with his Rashomon-updating Courage Under Fire, Zwick creates an ode to the master with calls to duty, splendid battle sequences and a look by cinematographer John Toll (The Thin Red Line) that captures the period in a way that could be hung in an art museum and is impossible to look away from.
Kurosawa's Rashomon proved to be an influence for Zwick's Courage Under Fire.
But it's puny stuff compared to Kurosawa's "Rashomon," or one of those political mosaics from Francesco Rosi (say, "The Mattei Affair").
After I was underwhelmed by The Usual Suspects , I decided to call it Rashomon Dogs, mocking the filmmakers' desire to fool around with unreliable narrative, a la Akira Kurosawa's great Rashomon, in the context of a scruffy, Tarantino-mode crime thriller.
Akira Kurosawa toyed with the same notion in "Rashomon," the classic examination of shifting realities and self-serving motives.
Playing with time from a storytelling perspective is a rare but certainly not novel cinematic trick, but it's usually found in the rewind or multiple character perspective-based films such as "Run, Lola, Run" and "Go!" and "Courage Under Fire" and "Rashomon" respectively.
In this way, as well as in its nods to legendary Japanese filmmaker Akira Kurosawa, Kubo is a Rashomon for the whole family: a tale that examines its own multiplicity and gently reminds us that every story looks different depending on who’s telling it.
Run Lola Run will be compared to many other titles like: Rashomon (1950), Krzysztof Kieslowski's Blind Chance (1981), Night on Earth (1992), Groundhog Day (1993), Pulp Fiction (1994), last year's Sliding Doors , and the recent titles Go and Twice Upon a Yesterday , as well as episodes of "The X-Files."
Advertisement
These goofy amateur remakes have clever names (“Grumpy Cul-De-Sacs” is the boys’ take on “Mean Streets”; “MonoRash” spoofs Akira Kurosawa’s “Rashomon”; “Senior Citizen Kane” and “My Dinner With Andre the Giant” speak for themselves), and they’re fun in a so-bad-they’re-good way.
She’s particularly fond of a takeoff on Rashomon he calls “Monorash” and an outrageous take on Midnight Cowboy titled “2:48 P.M. Cowboy.”
I won’t even tell you what “Apocalypse Now” gets turned into or how “Rashomon” becomes “Monorash.”
Greg’s best friend is Earl (RJ Cyler), and the two spend their days making parodies of classic films like “Rashomon” and “The Seventh Seal.”
High school student Greg ( Thomas Mann ) and his friend Earl ( RJ Cyler ) like to make parodies of famous movies (think Monorash instead of Rashomon) and have more than 40 of them under their belts.
This scene echoes similarly pitiful scenes in Akira Kurosawa’s Drunken Angel and Rashomon: brawls between wannabe roughs afraid of brawling, but forced into it by their own bravado.