Criterion Sunday 138: Rashomon (1950)

Though it may be one of those films that’s always on a best-of list somewhere, and therefore has the sense of being a boring dusty old classic, thankfully it’s for many good reasons and none of them involve being bored. Whatever else, it must be one of the most influential movies ever, not least for its audacious structure, moving back and forward in time and presenting overlapping testimonies on a rape/murder, each of which conflict with the others. It’s a film about the power and responsibility of storytelling, and of the infinite variety of interpretation, made by a filmmaker who — more than most others — has utter mastery over narrative exposition in filmic form. Kurosawa really is peerless in this regard; every cut and every scene moves the narrative forward in some way, or develops a theme of the film. The acting is iconic (suitably so) and much has been written about the sun-dappled cinematography. But for all the exegeses and critical plaudits, it stands up as a film which still entertains and educates.

Criterion Extras: Chief among the extras is a documentary called A Testimony as an Image (2012). This is, essentially, a making-of extra, albeit with the benefit of over a half-century of hindsight. The few remaining living crew members who worked on Kurosawa’s film come together to discuss their memories of its creation, so we get plenty about how the script came together (from one of the assistant directors, and a script supervisor), then about the set construction (from one of the lighting people), about that notable cinematography and the challenges of shooting in a dark forest, and about the stresses Kurosawa was under to get the release finished despite setbacks include a studio fire. It’s based around these reminiscences, with a few archival shots and some explanatory text, but these elderly men (and one woman) retain vivid memories and their recollections are worth listening to.

Also on the disc are around 15 minutes of excerpts from a documentary about cinematographer Kazuo Miyagawa, and a short address to camera by Robert Altman about how all the influences he stole from Kurosawa and from this film in particular. There’s also a halting radio interview with Takashi Shimura from around 1960, which is interesting if not especially enlightening. Donald Richie’s commentary track helps to pull out a lot of the themes, and engages the viewer with an awareness of all that Kurosawa and his team achieve in the film, making it even better and more interesting (I rewatched it with the commentary immediately after the film, and it didn’t get boring at all).


FILM REVIEW: Criterion Collection
Director Akira Kurosawa | Writers Akira Kurosawa and Shinobu Hashimoto (based on short stories “Rashomon” and “Yabu no Naka” [In a Grove] by Ryunosuke Akutagawa) | Cinematographer Kazuo Miyagawa | Starring Toshiro Mifune, Machiko Kyo, Masayuki Mori, Takashi Shimura | Length 88 minutes || Seen at Paramount, Wellington, Wednesday 14 April 1999 (as well as earlier on VHS at home, Wellington, November 1997, and most recently on DVD at a friend’s home, London, Sunday 1 January 2017)

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