Rashomon 1951

Sheltering from a rainstorm, a woodcutter, played by Takashi Shimura, and a priest, portrayed by Minoru Chiaki, find themselves in the ruins of the Rashomon gatehouse, pondering the shocking tale they recently encountered at a murder inquiry in a nearby courthouse. Their conversation is interrupted when a commoner, played by Kichijiro Ueda, expresses a keen interest in hearing the unsettling details of the story that has deeply disturbed the priest. The priest laments the incessant disasters of life, stating that despite the countless tragedies he has witnessed, nothing could prepare him for the horror of this particular account. The woodcutter, bewildered by the events surrounding the murder, hopes that the commoner can assist him in unraveling this perplexing tale.

The woodcutter takes the lead in narrating his experience from three days prior, when he ventured into the mountains in search of firewood. As he walked through the forest, the sunbeams danced through the leaves, casting intricate patterns of light and shadow. His exploration leads him to discover a woman’s hat ensnared in a bush, followed by a samurai’s hat and pieces of rope. It is only when he stumbles upon something partially hidden in the leaves that he realizes he has tripped over a corpse. In a panic, he drops everything—including his axe—and flees to report his findings to the authorities, leading him to the courthouse to testify days later.

In a sunlit courtyard, the woodcutter recounts to the court that he was the first to find the body. When questioned about any weapons or pertinent items, he insists he discovered nothing but the hats and a shiny amulet case, hinting at significant details: the rope’s placement near the body and the amulet’s distinctive red lining.

As the narrative unfolds, the priest recounts a sighting from three days earlier, where he saw a samurai, played by Masayuki Mori, traveling with a woman, beautifully portrayed by Machiko Kyô, on a horse, equipped with a sword and bow. This reflection prompts a poignant consideration of life’s fleeting nature, stirring sympathy for the widow now overwhelmed with grief.

The policeman, depicted by Daisuke Katô, appears next, providing testimony that identifies the captured bandit, Toshirô Mifune, renowned as Tajomaru. The policeman shares the moment of his capture and the circumstances surrounding the murder, suggesting Tajomaru fell from the stolen horse during his escape.

Contrary to the policeman’s narrative, the bandit vehemently denies any wrongdoing, asserting that he merely sought a drink from a spring and insists he knows his fate is sealed. With a bold declaration, he confesses to the murder of the samurai, weaving an extravagant tale of how he initially intended to abduct the woman without harming her husband. Through the bandit’s testimony, presented with bravado yet tinged with arrogance, we catch glimpses of his animalistic nature, highlighted by his carelessness and fly-swatting antics.

As the bandit’s story progresses, it includes details of how he ambushed the samurai under the pretense of leading him to a hidden cache, ultimately binding him and luring the wife into the same trap. In an unexpected twist, the woman surprises both men with a fierce attack, though she ultimately succumbs to the bandit’s charm. Following a passionate and conflicted moment, she desires a duel, challenging the men to settle their fates. This request ignites a fierce but chaotic sword fight, culminating in the samurai’s demise at the hands of the bandit.

Amidst the courtroom drama, the wives’ emotional unraveling serves to highlight her vulnerability and tragic predicament. In a heart-wrenching confession, she reveals that after the bandit’s assault, she found herself at a pond, where memories blur as she grapples with the aftermath of violence and betrayal.

The tales continue to intertwine as different perspectives emerge, revealing layers of manipulation and hidden truths, all leading to a confrontation of moral ambiguity. The woodcutter, witnessing these varying accounts, ultimately grapples with his own recollections of that fateful day. After observing the bandit’s desperate pleas for the woman to join him, and her subsequent rejection, he shares a crucial piece of information that casts doubt on the integrity of the testimonies presented.

In the Rashomon gatehouse, after much debate and skepticism, the commoner and the priest confront the harsh realities of human nature, revealing a society steeped in dishonesty and self-preservation. The commoner cynically points out the inherent flaws in humanity, suggesting that perhaps goodness is merely an illusion we grasp in our attempts to cope with uncomfortable truths.

As the rain begins to let up, a baby’s cry from the wild prompts a profound moment of connection between the woodcutter and the priest, revealing their underlying humanity. Despite the woodcutter’s admission of his minor theft, the priest recognizes the goodness within him and, in a heartfelt exchange, they symbolically reconnect with a sense of faith in mankind. The woodcutter departs into the emerging sunlight, embodying a glimmer of hope amidst the lingering shadows of doubt.