Hi Ms. Weiselberry. Love your channel. I saw your one-on-one conversation with Daisuke Beppu first. I've now spent the past few weeks ploughing through many of your own videos and thoroughly enjoying them (and I subscribed last night). Even if a particular movie isn't to my taste I still find your reviews of them fascinating and wholly engaging. I find your presentation style utterly charming, thoughtful and funny (you have natural charisma). I just wanted to say I love watching your videos, so thank you for creating such a wonderful channel.
Thank you so much! It was an incredible honor to get to have that conversation with Daisuke, and I'm so happy you chose to check out my channel after seeing it. Thanks for subscribing, and please feel free to comment any time!
You should see "The Outrage" a western version of Rashomon that stars Paul Newman, Claire Bloom, Laurence Harvey, Edward G. Robinson and a young William Shatner. Paul Newman has fun hamming it up as the bandit and Claire Bloom simply knocks it out of the park. It''s available in a beautiful widescreen black and white print on DVD.
-Rashomon- This was one of my brothers favourites, he idolized Kurosawa and Mifune and he would've loved your review, I'm sure there's been many reviews for this film but there's never been a Jerome Weiselberry Rashomon review until this one, your thought process is like none other because of the unique influences you've had from family to books and film, you are unique and your ideas and opinions are too, your Rashomon review is worthy to sit alongside whatever other reviews are out there because it was incredible. Rashomon is a film that really does linger. Listening to you speak about how we can be unreliable narrators based on our experiences and other influences was so deep and interesting, wow! also seeing you light up speaking about how both you and your mum recognized the hint of bolero was the best kind of geekery lol, I thought I may have heard a little of it in a western once too, maybe the Magnificent Seven but I'm unsure. ~ Thank you Ms Weiselberry ~
I had never seen this film, though friends were shocked that I had not, and this was years ago! The stills that you used were exceptional! I will look for this , through my local library. Thanks!
Man black and white films, I still appreciate today! I guess the older I get, the more I start opening up to things I didn't use to like before. Films like the 1954 Gojira and Dracula and rashomon , makes me appreciate the old for good!
Great job - interesting research on the Bolero inspiration - and totally correct on the smart artistic choice to leave the truth a little murky. Of course you find that more in literature but it sure kept people talking about the end of the Sopranos.
I watched just two Kurosawa films, Rashomon and Yojimbo, both are great but I prefer Yojimbo, Yojimbo is kind of a Western/Adventure movie and that's why I like it most, while Rashomon is something more brainy or Thriller like, it's very good but I prefer the Western/Adventure kind of film. Yojimbo is not exactly a Western but it certainly has a Western feel to it, so that Sergio Leone even made A Fistful of Dollars that is kind of a remake or retelling of Yojimbo but set in the Old West and it's a great movie too.
(sorry for some possible grammar mistakes, non native english speaker) I was looking forward for this review, and I'm not even a bit disappointed. In my opinion, easily one of your best reviews, and one of the best kurosawa films reviews I remember seeing on youtube. I feel like your impressions are sincere, not over the top. I know one of the appeals of this channel is to do reviews for more obscure films, but you really should not be hesitant to approach these widely discussed films (specially for japanese cinema, many amazing films by directors like kurosawa, ozu and mizoguchi aren't sufficiently talked about here on youtube). That said, there are a couple of observations that I think could complement the points you've made in this video. I've already seen descriptions of this film as "impressionistic" (which could perhaps explain the ravel homage?). It seems to me that many elements in it point to this direction: the use of light, those blurred camera shots in the forest, the music, the lack of definition in the story and characters personalities, etc. Also, there are some very prominent symbols in this film, specially in regards to the sun being blocked by the tree leaves, which, if I'm not mistaken, is a motif repeating whenever a character begins to tell a story, clearly suggesting the light of truth not shining through completely. Also, I interpret the rape and all the contradicting testimonies as an allegory for the situation of post-war japan under american occupation: a very turbulent period when many contradicting points of view were in vogue for describing the traumatic events surrounding WW2, the destruction of japan and the humiliating defeat of its army and navy. Just imagine their situation, when a former demonized enemy is now part of your daily routine, your previously god-like emperor suddenly doesn't seem so divine, your heroic army is said to have comited several war crimes whilst suffering a humiliating defeat, while your country has been completely devastated by war, many innocent have died, a complete chaotic situation. I think this film captures this feeling beautifully, but it's symbols are sufficiently generalizeble beyond this time perioed.
Oh wow, thank you! I do find it less daunting to talk about titles that haven't been covered by legions of filmmakers, teachers, and critics, but I very much appreciate the encouragement to discuss more prominent films like this one. And thank you for sharing your observations! "Impressionistic" does seem like an applicable word, and I fancy an entire study could be done on that alone. I'd previously heard mentions of Kurosawa's painstaking use of sunlight/light through the trees, but I didn't pick up on a symbolic connection myself. (Clearly there's even more that can be gathered from the film on further viewing.) I think your analysis of the metaphorical historical significance is sound as well. I had some similar thoughts with regard to the offering of such wildly different renditions of what happened and the possibility that the players involved wholeheartedly believe the stories they tell as a means of coping with an intensely rattling episode or clinging to the most acceptable explanation.
You put a lot of thoughtfulness into your reviews! I was looking forward to this one...though I have only seen "Rashomon" once, many years ago. This review makes me want to watch it again. I particularly like what you have to say about the human capacity for storytelling, though how subject it is to error, bias, etc...so true, so true. A few other extremely random comments (but coming from an enthusiastic place): 1. Akutagawa was a terrific short story writer, and as has been mentioned, the main plot of the film is based on his story "In a Grove." He has another story called "Rashomon" which concerns a totally different plot, but provides the setting of the Rashomon gate and the rain. If I recall, the movie ends on a more hopeful note about humanity, whereas compare with the final sentences to the stories: "And once and for all I sank down into the darkness of space" ("In a Grove"), "Beyond this was only darkness...unknowing and unknown." ("Rashomon"). 2. Akutagawa's son, Yasushi Akutagawa, was a great classical music composer. I have some of his music on CD, a piece I would recommend by him is Rapsodia for Orchestra (1971). 3. Another plug (from your Ozu review) for Ozu's "Floating Weeds" (the 1959 version) which has Machiko Kyo as one of the leads. I hope one day to see the movie she made with Marlon Brando and Glenn Ford, "The Teahouse of the August Moon," have no idea if it's any good or not. 4. Have you seen "Ikiru" by Kurosawa? That is one movie where Takashi Shimura (the woodcutter) and Fukio Hayasaka (the composer of this soundtrack) shine.
Thank you for your comment! You've mentioned a few things I wasn't aware of. I purposely didn't do as much background research for this video because I wanted it to just be my reaction to the film as much as possible, so I appreciate your informative input. It's interesting to learn that the Rashomon frame came from a different story, yet the last lines of each seem to echo each other... and the closing sentiment of both is the antithesis of the note the film ends on! I saw a little of The Teahouse of the August Moon; not enough to comment on it, I'm afraid. I've got Ikiru on my watchlist!
@@Weiselberry Well, thank you for putting up with all my ramblings and being so kind! :) Your reviews are high caliber, truly...I know when you post something, it will be thoughtful and well-constructed. Also, "Ikiru" is a masterpiece (in my opinion)...
Your comments are excelent and well-considered. I've shown this film to storytelling classes many times. Your review has inspired me to re-visit it once again. Thanks.
Your review for Kurosawa's Rashomon is..... Extremely good (No Bull !). What I really enjoy about your reviews in general, it is that, its honest, clear, and funny. For example, you open the video by saying "In the last 71 years this film has been discuss and analyze from every possible angle," and with that said, Yes It has. Technically any film with some kind of history has been analyze to death (LOL), but I really do enjoy your take on this classic film, and it is a review from some that Loves Movies and as a fellow Film Aficionado this is refreshing because there is NO PRETENSION, just some who Loves Films. Thank You ! Keep it up, until then. P.S.- Glad you mention the film "Dos Monjes," its very fascinating how filmmakers inspired each, e.g. Sam Peckinpah slow motion action scenes in "The Wild Bunch" were inspired by Arthur Penn's "Bonnie and Clyde" but Arthur Penn was inspired by Akira Kurosawa's "Seven Samurai," but Kurosawa was inspired by John Ford.
Thank you very much! And yes, that's so true: moviemakers draw inspiration from those who came before and perpetuate each other's creativity. Writers do the same thing. It's interesting to make the connections and see the gradual development of experimental concepts over the years.
We live in a time where people,s versions of reality diverge so wildly that this foreign language Oscar winner feels as relevant as ever.The thing I really love about this channel is that your perspective on a piece of culture feels unique.That,s why it does not matter that this might be the millionth dissertation on a classic.It feels fresh.Vital.I don,t know the facts but I read somewhere that Kurosawa wanted to make a Godzilla film.I wish that would have happened.I imagine it would have been different to any other zilla.I have taken my weekly Weiselberry.I am happy.
Great video. I enjoyed your observations on this movie. I've seen it a number of times. Once in high school as a Kurosawa enthusiast. Once to write a paper on. A few times in college as part of getting my Film Studies Degree. And a couple times since then, just to revisit. Your review and analysis has inspired me to rewatch it yet again.
Thank you for the thoughtful insights of this film, JW. It's also one I've stayed away from because of the content. Just not my cup of tea. I may give it a go based off your review though. Cheers!
Hi. Another excellent, insightful review. BTW, the blame for Bolero-sounding track goes to Kurosawa. I read (I don’t remember the book) that Kurosawa had a tin ear, and told Fumio Hayasaka, the music director, to “Write something like Bolero.”
As a bit of trivia, during the 1970’s (when I grew up) it was common for sitcoms to air an episode where characters exchanged conflicting views of the same event, a la Rashomon. Two great examples: “The Odd Couple”, “A Night to Dismember” (first aired 2/18/1972, Season 2, Episode 21). Felix, Oscar, and his ex-wife Blanche exchange conflicting stories of how Oscar’s and Blanche’s marriage broke up. Even better is “All in the Family”, “Everybody Tells the Truth” (first aired 3/03/1973, Season 3, Episode 21). Archie and Mike argue over who was responsible for breaking the refrigerator, with HILARIOUS conflicting versions! I’m sure Kurosawa was proud.
I REALLY respect your bravery to address this movie.... One of my favorites.... and you did a terrific job... you are better EVERY TIME you make a video.. you are my highlight ..
An excellent review as always A level of contemplative detail that is rare ( especially on RUclips) I do not know which Kurosawa films you have seen but may I recommend three films which star my favourite actor Takashi Shimura Two which also starred Mifune - Seven Samurai and a smaller but equally arresting film Stray Dog Also my favourite film of all - Ikiru Do not get put off by the initial premise (old man finding out he is dying of Cancer) this is one of the most uplifting and thought provoking of films. Keep up the good work 🙂🙂🙂
Thank you, and thanks for the recommendations! I talked about Stray Dog in a What Else I Saw video last spring, and the other two movies are on my watchlist. Ikiru I've known about for a number of years and it's steadily becoming a higher priority. Seven Samurai... well, I've always put it off because it's so long! I don't find it as daunting now as I used to, though, and I think I'm working my way up to watching it finally sometime this year. :) Thanks!
Jerome Weiselberry always delivers. You open by humbly questioning whether you can rise to this occasion, but your mini-lecture at 10:30 handily verifies your qualifications. You richly added to my understanding of this timeless masterpiece. You took me farther than my college film instructor! That seance was ugly, repulsive, unreal. Kurosawa would be pleased to know how I feel. {Earlier, I claimed this film could never be made into a western. Alas, I see a corespondent, below, has identified just such a movie. Never say never}. I was impressed with the vagabond's ability to deduce the woodcutter's self interest. An aha moment, sets the stage for a bittersweet moment of human redemption, and a renewed dedication to walk in truth. Difficult. (more) The redemptive value of the ending has two parts. 1) The woodcutter's concluding generosity 2) The conviction that one loses moral authority with his own sin. Stay clean, and you, too, can stop a thief. i.e, get the log out of your own eye.
Over the past few years, I've been screening Kurosawa films at the local Hackerspace, and when I screened Rashomon I showed the Simpsons episode "Bart Gets Hit By A Car" afterwards.
I love Kurosawa and I love Rashomon, so it was great that you chose it to discuss in depth. As usual, very profound thoughts. I was also amazed that you noticed the bolero. I think its slow and repetitive progression works perfectly in a story like this. The film is one of Kurosawa’s masterpieces. One of his most beautifully shot films, and the deep focus is effectively used. Yes, top notch performances throughout. Since you mentioned how much you liked Takashi Shimura’s performance, I have to recommend you watch Ikiru, shot two years after Rashomon. It’s not as polished, and is a bit clumsy in parts, but is by far Kurosawa’s most powerfully emotional film, and Shimura is fantastic. The song he sings in it brings tears to my eyes whenever I hear it. Ikiru means “to live” and is about a city bureaucrat who learns he is dying, and the story follows what he does in the last months of his life. Structurally, it’s very unexpected, but later makes perfect sense. Like Rashomon, you are left with much to think about. In fact, the themes of this film are something I have carried with me my entire life. Thanks for another marvelous review!
This was one of your best reviews because you had to struggle with a different culture, language and history. I think the struggle was worth it because it leads us to the place where we can't take anything for granted. The descriptions of the different perspectives and your analysis were excellent. I also liked your comments about the forest, photography and music very much. This film's greatness is in it makes one think about it long after it is over. Thank you for watching it twice for us so soon.
Wow, thank you! Indeed, there's always something particularly meaningful about a film that provokes so much additional thought or inspires emotions that last long after the credits have rolled.
Before watching the movie I had the impression it was about how people perceive events. But I don't think the movie is really about different perceptions, I think it suggests the story tellers are lying, not misremembering. I suppose the last story is the true one, in which case the bandit's story is somewhat close to the true, but slanted to make him more of an impressive figure (by his own standards). But I don't get why the woman or the medium tell the stories they do. My first impression was not very positive, but I did start thinking about it afterwards so I am revising my opinion upwards somewhat.
Yes, I had a similar impression beforehand; as far as perception goes, it's more about how the audience's perception of what happened changes. The witnesses' stories vary too much to just be different perceptions of the truth. They're all lying, or some of them are lying, or some of them have convinced themselves that things happened a certain way... or something!
I'd like to add my observations of the movie. Firstly, from the beginning we travel through a lot of wood with the Woodcutter. Why ? What is wrong with all the trees he is passing ? Secondly, the action takes place over a fairly wide area. I would ask, how could the Woodcutter be able to see all of it and not be seen ?
There's a film called, The Woman In Question, also from 1950 starring Dirk Bogarde and Jean Kent, about the investigation into a murdered woman, whose life and character is shown in flashbacks in quite different ways and perspectives by people that knew her. If you haven't seen it, it's worth tracking down.
You were told to watch it in 2012...I haven't seen it since probably 2009 or 2010. I hardly remember it (beyond the main plot sketch). I will say that you remarked on Kurosawa's cinematography, and it always impresses me what he's able to do with black and white...so that when he finally gets to color films, he goes a bit wild. He's one of those directors that I wish did more films. He did plenty, but I wish he did more. Also, I feel I should say this more, but thank you for what you do. You watched this film (a difficult one), twice, for us and put together notes and a 20 minute video for us to enjoy on Saturday night. And you do that every week. It's "lo-fi" but still so well-presented. So...thanks for being awesome. :)
I think his first color film Dodes Ka Den is a masterpiece. But it was a flop both critically and financially upon release, so much so that Kurosawa contemplated seppuku. Thankfully, he recovered.
Thoroughly enjoyable video as ever Jerome! Loving your work! Had a similar experience with Rashomon. Initially left cold by the troubling subject matter, but drawn in by the technical brilliance and artistry of Kurosawa, although it's a film I admire and respect more than love and cherish. If you are looking for another hit of Kurosawa/Mifune magic, may I recommend High and Low, an underappreciated gem. Cheers J!
@@Weiselberry Is your watchlist like mine? It gets longer every week haha I should also mention Ikiru and Ran as particular favourites of mine, but I'm sure you are well aware of these too! Look forward to your next videos!
@@Weiselberry Well at least you'll never get bored! You need to 'Do a Daisuke' and have a themed series running to whittle down your list...... absolutely loved your Godzilla series! Although I can imagine it's both massively time consuming and stressful! Haha :) I love your videos anyway, so please keep up the great work, and thank you so much for brightening up my day. Cheers!
Excellent review of a movie I love. I'll add my voice to the chorus of support. Yes, you have more than earned your chops in reviewing any movie you wish. However, more importantly you should never feel that your reviews need to present some new or blinding insight heretofore obscured to mere mortals. As you say, Rashomon has been so extensively (over-)analysed that it is incredibly difficult to say something genuinely new about it. But that doesn't mean that your opinion doesn't add something of value. You have excellent taste and judgement in film, as well as exceptional articulation. Though I don't (and can't) always agree with your opinion I always value it, thus it's a great pleasure to hear your thoughts on any movie, regardless of whether I learn something new (which happens frequently) or not. Gratuitous flattery out of the way, I do have a question for you, if I may? When you answered your own question about liking the movie, your answer seemed a little hesitant, maybe ambivalent. Why was that? By that I don't mean that you need to justify your reaction - of course you don't - but I am very curious about what it was about Rashomon that, perhaps, didn't satisfy you, or left you a little disappointed? Above all, thank you for this review - it's one of your best.
Thank you! The support and encouragement is much appreciated. From my perspective, no matter how well-received one daunting review may turn out to be in general, the next one still feels just as risky. Thoughtful comments like yours, though, do help to chip away at my reticence when it comes to starting intimidating discussions, and I'm grateful. That statement wasn't meant to sound hesitant or ambivalent. I felt no disappointment with regard to this film. In fact, I found I enjoyed it more than I had expected to, particularly after the second viewing. That's in spite of the subject matter and historical period, which I'm not naturally drawn to. But I've heard a lot of hype for Rashomon over the years and approached it knowing it's a favorite of some of my viewers, and I didn't have *as* enthusiastic a reaction. There have been other films that, for one reason or another, resonated with me on a more personal level, provoking a warmer response than this one did. This is entirely subjective, of course, as you know. Films that strike an emotional chord with me won't have the same effect on someone else, and vice versa. Parenthetically, I don't like making explicit "I liked this" or "I didn't like this" statements that much. It feels like I'm putting the movie through a pass/fail test when my takeaway is more complicated than that. I'd rather just say what I liked and what I didn't, and hopefully it'll be clear from that how much I liked the movie or not. But I've had a couple viewers over the years who complained that they couldn't tell if I liked something or not (or maybe they just wished I'd get to the point with a grading system like some other reviewers), so at times I throw that out there. I certainly don't want someone to get the wrong idea. (I realize it may sound like I put too much thought into this, but experience has taught me it's necessary. Besides, I don't like to be misunderstood or misquoted, so clarity is key. Nothing like having someone say, "Sorry you hated this one!" in the comments when that wasn't what I meant to convey at all.)
That is a very thoughtful response - thank you! I wondered if perhaps your ability to enjoy the movie on its own terms was made more difficult by its reputation and its influence on so many other movies. I first saw it when I was quite young and knew nothing about it, assuming, based on the few Kurosawa films I had seen by that point, that it was going to be a swordfighting-heavy samurai action movie. At first I was disappointed that this was not the case...and then it blew my mind. I can understand, though, that feeling of watching it and appreciating its revolutionary nature while still not being able to escape the awareness of tropes that derived from it (and earlier movies, as you mention). I had a kind of underwhelmed appreciation for Wells' novel when I read it after seeing so many derivative versions of War of the Worlds. Similarly when reading Rider Haggard's King Solomon's Mines and She. It's hard for them to hold up as well once you've seen Indiana Jones or Lost Horizon. On the setting, I take your point, but I think the characters and situation are much more universal than Japanese or even historical. There's a somewhat Jungian quality to the character archetypes and the crimes are all too human and relatable. I think that's why the movie transcends its home culture and a large part of what makes Kurosawa so powerful as a director - his movies tend so much to the universal and humanist that they "travel" very comfortably, much like the works of Shakespeare and Dostoyevsky that he enjoyed so much. On that last point, I find it interesting that you mentioned in your review a kind of exasperation with the characters and story ("You're ALL guilty!") because I think Kurosawa implicitly shared a similar sentiment with the original short story. The addition of the baby at the end and the woodcutter's act of kindness were Kurosawa's, and many have speculated that he felt that there needed to be some good, some possible redemption, visible in the human, alongside the evil, hence the more optimistic end to a dissatisfyingly downbeat non-conclusion in the original story. None of this is criticism, btw, I'm just sharing some thoughts. Like or don't like, I was simply curious to tease out your views a little more. Thanks again.
There's another review I would like for you to do...War of the Gargantuas....It may be hard or impossible to find but sometimes you can find free on roku
That's very interesting that the score contains 'Bolero'. I've never seen this film, so I'm curious as to why it is there and how it comes across in the middle of a movie set in fuedal Japan. You said that you found it distracting, so I imagine it is does not have any clear connection to what is happening on screen. Based on things you've said in other videos I'm guessing that your knowledge of, and taste in music, is as good as your knowledge and taste in film. Have you considered doing a video series where you discuss your favorite pieces of music?
It was definitely written for the film and is timed to sync with the bride's testimony. Since the rest of the score isn't necessarily of the time period, it doesn't sound out of place, but it is noticeably similar to the Ravel composition. According to what another commenter said, Kurosawa asked for something "like Bolero" and this is what Hayasaka came up with. (As to why that was what Kurosawa wanted, I don't know.) The rhythm, the percussion, the increasing instrumentation, the progression, and the phrasing are all very like Ravel's Bolero; the main difference is the central melody. It's actually a pretty neat thing. It's just that if you know Ravel's Bolero well and recognize the similarity from the first couple bars, you get a little distracted listening to the music to see just how like the other it's going to be instead of giving your attention to the story. :) I have actually considered doing a video on that topic. We'll see if it happens.
I first saw Rashomon when I was nine years old; my parents were watching it on TV on a Saturday night. This was the ENGLISH-DUBBED version. Though the dubbing actors tried hard, unfortunately they affect pseudo Japanese accents. Unfortunately, this comes across as unintentionally funny, and makes a strange movie appear even more strange. As a child, when I watched this movie all I could think was “Why are those people talking so funny? What is this WEIRD movie?”
KUROSAWA! Will you be watching more of his films? Which have you already seen? Honestly, Rashomon is not one of my favorite Kurosawa films. The supernatural aspect is a big turn-off for me. I want to like it, it being from Kurosawa (my favorite director) and featuring Toshiro Mifune, Takashi Shimura, and Minoru Chiaki (three of my favorite actors). But when the medium shows up in the film, I fast-forward past that part. I do dig the set, though; the Rashomon gate setting is fascinating, in my opinion, and I would have loved visiting it. Great review, JW, as usual 👍
What I've seen: Throne of Blood, most of Red Beard, Yojimbo, Sanjuro, Stray Dog, Rashomon, and parts of Dreams when I was very little (sequences aired on tv as short films and young me thought they were really weird!). Ones that are on my watchlist include Ikiru, High and Low, Seven Samurai, Drunken Angel, and Scandal. Yes, I wasn't keen on the medium section either. It was freaky, plus that kind of thing is not something I'm interested in watching in any movie. It made a strong impression, though... Thanks!
@@Weiselberry You have some great ones on your watchlist. Seven Samurai is my favorite of all movies. Other Kurosawa faves from your lists are Ikiru, Red Beard, Yojimbo, Sanjuro, and High and Low. I also dig The Most Beautiful, No Regrets for Our Youth, and I Live in Fear. If I could recommend one for your watchlist, please, I'd strongly suggest The Hidden Fortress (one of the most influential films ever made, in my opinion). I hope to see reviews of more Kurosawa films on your channel. Keep up the great work 👍
If you watch enough "human-condition" films, you begin to become quite cynical about our species. C'est la vie. Two Fellini films I love. Both feature the excellent Giulietta Masina in the lead roles: La Strada Nights of Cabiria I enjoy your videos.
Quick question, but have you seen Kurosawa's other film, The Hidden Fortress (1958)? You know, the film that was one of the inspirations for Star Wars.
if you are not particularly drawn to samurai films, some excellent kurosawa non-samurai films are high and low, ikiru, dersu uzala and the bad sleep well.
@@Weiselberry Dersu Uzala is a very peaceful, meditative film, and is an odd one because it's shot in Siberia with Russian actors, based on a true story. Some Kurosawa fans regard it as one of his best. It's also his second color film if I recall, with some remarkable landscape shots that inspired George Lucas in star wars.
You're welcome. It's not immediately apparent that that's the right video because I didn't name the movie in the subject title. But if you use the channel search feature (the little magnifying glass on the main channel page), the right video comes up first.
Marge Simpson:"Come on Homer, Japan will be fun! You liked Rashomon.."
Homer Simpson:"That's not how I remember it."
Should we tell them the secret to inner peace?
😂
Hi Ms. Weiselberry. Love your channel. I saw your one-on-one conversation with Daisuke Beppu first. I've now spent the past few weeks ploughing through many of your own videos and thoroughly enjoying them (and I subscribed last night). Even if a particular movie isn't to my taste I still find your reviews of them fascinating and wholly engaging. I find your presentation style utterly charming, thoughtful and funny (you have natural charisma). I just wanted to say I love watching your videos, so thank you for creating such a wonderful channel.
Thank you so much! It was an incredible honor to get to have that conversation with Daisuke, and I'm so happy you chose to check out my channel after seeing it. Thanks for subscribing, and please feel free to comment any time!
You should see "The Outrage" a western version of Rashomon that stars Paul Newman, Claire Bloom, Laurence Harvey, Edward G. Robinson and a young William Shatner. Paul Newman has fun hamming it up as the bandit and Claire Bloom simply knocks it out of the park. It''s available in a beautiful widescreen black and white print on DVD.
Wow! Never heard of this. Thank you.
-Rashomon-
This was one of my brothers favourites, he idolized Kurosawa and Mifune and he would've loved your review, I'm sure there's been many reviews for this film but there's never been a Jerome Weiselberry Rashomon review until this one, your thought process is like none other because of the unique influences you've had from family to books and film, you are unique and your ideas and opinions are too, your Rashomon review is worthy to sit alongside whatever other reviews are out there because it was incredible. Rashomon is a film that really does linger. Listening to you speak about how we can be unreliable narrators based on our experiences and other influences was so deep and interesting, wow! also seeing you light up speaking about how both you and your mum recognized the hint of bolero was the best kind of geekery lol, I thought I may have heard a little of it in a western once too, maybe the Magnificent Seven but I'm unsure. ~ Thank you Ms Weiselberry ~
I had never seen this film, though friends were shocked that I had not, and this was years ago! The stills that you used were exceptional! I will look for this , through my local library. Thanks!
Great video. I've always loved the shots of the sky where clouds are blocking the sun like they're lies or bias blocking the truth.
Whoa! The director had to wait for those shots. That's boss!
Nice thing you noticed !
Man black and white films, I still appreciate today! I guess the older I get, the more I start opening up to things I didn't use to like before. Films like the 1954 Gojira and Dracula and rashomon , makes me appreciate the old for good!
this is certainly one film whose impact couldn't be reproduced with colors.
Great job - interesting research on the Bolero inspiration - and totally correct on the smart artistic choice to leave the truth a little murky. Of course you find that more in literature but it sure kept people talking about the end of the Sopranos.
I watched just two Kurosawa films, Rashomon and Yojimbo, both are great but I prefer Yojimbo, Yojimbo is kind of a Western/Adventure movie and that's why I like it most, while Rashomon is something more brainy or Thriller like, it's very good but I prefer the Western/Adventure kind of film.
Yojimbo is not exactly a Western but it certainly has a Western feel to it, so that Sergio Leone even made A Fistful of Dollars that is kind of a remake or retelling of Yojimbo but set in the Old West and it's a great movie too.
Yes, Yojimbo's quite a different animal from Rashomon. Both Yojimbo and A Fistful of Dollars are fun, enjoyable adventures.
(sorry for some possible grammar mistakes, non native english speaker)
I was looking forward for this review, and I'm not even a bit disappointed. In my opinion, easily one of your best reviews, and one of the best kurosawa films reviews I remember seeing on youtube. I feel like your impressions are sincere, not over the top. I know one of the appeals of this channel is to do reviews for more obscure films, but you really should not be hesitant to approach these widely discussed films (specially for japanese cinema, many amazing films by directors like kurosawa, ozu and mizoguchi aren't sufficiently talked about here on youtube).
That said, there are a couple of observations that I think could complement the points you've made in this video. I've already seen descriptions of this film as "impressionistic" (which could perhaps explain the ravel homage?). It seems to me that many elements in it point to this direction: the use of light, those blurred camera shots in the forest, the music, the lack of definition in the story and characters personalities, etc. Also, there are some very prominent symbols in this film, specially in regards to the sun being blocked by the tree leaves, which, if I'm not mistaken, is a motif repeating whenever a character begins to tell a story, clearly suggesting the light of truth not shining through completely. Also, I interpret the rape and all the contradicting testimonies as an allegory for the situation of post-war japan under american occupation: a very turbulent period when many contradicting points of view were in vogue for describing the traumatic events surrounding WW2, the destruction of japan and the humiliating defeat of its army and navy. Just imagine their situation, when a former demonized enemy is now part of your daily routine, your previously god-like emperor suddenly doesn't seem so divine, your heroic army is said to have comited several war crimes whilst suffering a humiliating defeat, while your country has been completely devastated by war, many innocent have died, a complete chaotic situation. I think this film captures this feeling beautifully, but it's symbols are sufficiently generalizeble beyond this time perioed.
Much obliged for your contribution!
Oh wow, thank you! I do find it less daunting to talk about titles that haven't been covered by legions of filmmakers, teachers, and critics, but I very much appreciate the encouragement to discuss more prominent films like this one. And thank you for sharing your observations! "Impressionistic" does seem like an applicable word, and I fancy an entire study could be done on that alone. I'd previously heard mentions of Kurosawa's painstaking use of sunlight/light through the trees, but I didn't pick up on a symbolic connection myself. (Clearly there's even more that can be gathered from the film on further viewing.) I think your analysis of the metaphorical historical significance is sound as well. I had some similar thoughts with regard to the offering of such wildly different renditions of what happened and the possibility that the players involved wholeheartedly believe the stories they tell as a means of coping with an intensely rattling episode or clinging to the most acceptable explanation.
So glad you did a separate, more lengthy review of this great movie. As usually, I really enjoyed hearing your thoughts about it.
You put a lot of thoughtfulness into your reviews! I was looking forward to this one...though I have only seen "Rashomon" once, many years ago. This review makes me want to watch it again. I particularly like what you have to say about the human capacity for storytelling, though how subject it is to error, bias, etc...so true, so true.
A few other extremely random comments (but coming from an enthusiastic place):
1. Akutagawa was a terrific short story writer, and as has been mentioned, the main plot of the film is based on his story "In a Grove." He has another story called "Rashomon" which concerns a totally different plot, but provides the setting of the Rashomon gate and the rain. If I recall, the movie ends on a more hopeful note about humanity, whereas compare with the final sentences to the stories: "And once and for all I sank down into the darkness of space" ("In a Grove"), "Beyond this was only darkness...unknowing and unknown." ("Rashomon").
2. Akutagawa's son, Yasushi Akutagawa, was a great classical music composer. I have some of his music on CD, a piece I would recommend by him is Rapsodia for Orchestra (1971).
3. Another plug (from your Ozu review) for Ozu's "Floating Weeds" (the 1959 version) which has Machiko Kyo as one of the leads. I hope one day to see the movie she made with Marlon Brando and Glenn Ford, "The Teahouse of the August Moon," have no idea if it's any good or not.
4. Have you seen "Ikiru" by Kurosawa? That is one movie where Takashi Shimura (the woodcutter) and Fukio Hayasaka (the composer of this soundtrack) shine.
Thank you for your comment! You've mentioned a few things I wasn't aware of. I purposely didn't do as much background research for this video because I wanted it to just be my reaction to the film as much as possible, so I appreciate your informative input. It's interesting to learn that the Rashomon frame came from a different story, yet the last lines of each seem to echo each other... and the closing sentiment of both is the antithesis of the note the film ends on! I saw a little of The Teahouse of the August Moon; not enough to comment on it, I'm afraid. I've got Ikiru on my watchlist!
@@Weiselberry Well, thank you for putting up with all my ramblings and being so kind! :) Your reviews are high caliber, truly...I know when you post something, it will be thoughtful and well-constructed. Also, "Ikiru" is a masterpiece (in my opinion)...
They're not ramblings at all and you're very welcome to share any thoughts you have. :) Thanks!!
Your comments are excelent and well-considered. I've shown this film to storytelling classes many times. Your review has inspired me to re-visit it once again. Thanks.
Thank you!
I'd have to say you did pretty good with the pronunciation of the Japanese names overall 👍
Thanks! I try my best to get them right.
Your review for Kurosawa's Rashomon is..... Extremely good (No Bull !). What I really enjoy about your reviews in general, it is that, its honest, clear, and funny. For example, you open the video by saying "In the last 71 years this film has been discuss and analyze from every possible angle," and with that said, Yes It has. Technically any film with some kind of history has been analyze to death (LOL), but I really do enjoy your take on this classic film, and it is a review from some that Loves Movies and as a fellow Film Aficionado this is refreshing because there is NO PRETENSION, just some who Loves Films. Thank You ! Keep it up, until then. P.S.- Glad you mention the film "Dos Monjes," its very fascinating how filmmakers inspired each, e.g. Sam Peckinpah slow motion action scenes in "The Wild Bunch" were inspired by Arthur Penn's "Bonnie and Clyde" but Arthur Penn was inspired by Akira Kurosawa's "Seven Samurai," but Kurosawa was inspired by John Ford.
Thank you very much! And yes, that's so true: moviemakers draw inspiration from those who came before and perpetuate each other's creativity. Writers do the same thing. It's interesting to make the connections and see the gradual development of experimental concepts over the years.
We live in a time where people,s versions of reality diverge so wildly that this foreign language Oscar winner feels as relevant as ever.The thing I really love about this channel is that your perspective on a piece of culture feels unique.That,s why it does not matter that this might be the millionth dissertation on a classic.It feels fresh.Vital.I don,t know the facts but I read somewhere that Kurosawa wanted to make a Godzilla film.I wish that would have happened.I imagine it would have been different to any other zilla.I have taken my weekly Weiselberry.I am happy.
Great video. I enjoyed your observations on this movie.
I've seen it a number of times.
Once in high school as a Kurosawa enthusiast. Once to write a paper on. A few times in college as part of getting my Film Studies Degree. And a couple times since then, just to revisit.
Your review and analysis has inspired me to rewatch it yet again.
Thank you for the thoughtful insights of this film, JW. It's also one I've stayed away from because of the content. Just not my cup of tea. I may give it a go based off your review though. Cheers!
Hi. Another excellent, insightful review. BTW, the blame for Bolero-sounding track goes to Kurosawa. I read (I don’t remember the book) that Kurosawa had a tin ear, and told Fumio Hayasaka, the music director, to “Write something like Bolero.”
Ah! That's not something I'd heard. Well, if that was the sole direction, Hayasaka certainly succeeded. Thanks!
Never doubt yourself. You are FABULOUS.
Aw, thank you! :)
As a bit of trivia, during the 1970’s (when I grew up) it was common for sitcoms to air an episode where characters exchanged conflicting views of the same event, a la Rashomon. Two great examples: “The Odd Couple”, “A Night to Dismember” (first aired 2/18/1972, Season 2, Episode 21). Felix, Oscar, and his ex-wife Blanche exchange conflicting stories of how Oscar’s and Blanche’s marriage broke up. Even better is “All in the Family”, “Everybody Tells the Truth” (first aired 3/03/1973, Season 3, Episode 21). Archie and Mike argue over who was responsible for breaking the refrigerator, with HILARIOUS conflicting versions! I’m sure Kurosawa was proud.
A classic example of a movie I've always intended to see but never got to. Thank you for lending me some courage. Owl, etc.
Hope you can check it out sometime and see what you think!
I REALLY respect your bravery to address this movie.... One of my favorites.... and you did a terrific job... you are better EVERY TIME you make a video.. you are my highlight ..
Thank you! I'm glad enjoyed the review!
An excellent review as always
A level of contemplative detail that is rare ( especially on RUclips)
I do not know which Kurosawa films you have seen but may I recommend three films which star my favourite actor Takashi Shimura
Two which also starred Mifune -
Seven Samurai and a smaller but equally arresting film Stray Dog
Also my favourite film of all - Ikiru
Do not get put off by the initial premise (old man finding out he is dying of Cancer) this is one of the most uplifting and thought provoking of films.
Keep up the good work 🙂🙂🙂
Thank you, and thanks for the recommendations! I talked about Stray Dog in a What Else I Saw video last spring, and the other two movies are on my watchlist. Ikiru I've known about for a number of years and it's steadily becoming a higher priority. Seven Samurai... well, I've always put it off because it's so long! I don't find it as daunting now as I used to, though, and I think I'm working my way up to watching it finally sometime this year. :) Thanks!
Jerome Weiselberry always delivers. You open by humbly questioning whether you can rise to this occasion, but your mini-lecture at 10:30 handily verifies your qualifications. You richly added to my understanding of this timeless masterpiece. You took me farther than my college film instructor! That seance was ugly, repulsive, unreal. Kurosawa would be pleased to know how I feel. {Earlier, I claimed this film could never be made into a western. Alas, I see a corespondent, below, has identified just such a movie. Never say never}. I was impressed with the vagabond's ability to deduce the woodcutter's self interest. An aha moment, sets the stage for a bittersweet moment of human redemption, and a renewed dedication to walk in truth. Difficult. (more) The redemptive value of the ending has two parts. 1) The woodcutter's concluding generosity 2) The conviction that one loses moral authority with his own sin. Stay clean, and you, too, can stop a thief. i.e, get the log out of your own eye.
I'm glad you enjoyed the discussion!
Over the past few years, I've been screening Kurosawa films at the local Hackerspace, and when I screened Rashomon I showed the Simpsons episode "Bart Gets Hit By A Car" afterwards.
I love Kurosawa and I love Rashomon, so it was great that you chose it to discuss in depth. As usual, very profound thoughts. I was also amazed that you noticed the bolero. I think its slow and repetitive progression works perfectly in a story like this. The film is one of Kurosawa’s masterpieces. One of his most beautifully shot films, and the deep focus is effectively used. Yes, top notch performances throughout. Since you mentioned how much you liked Takashi Shimura’s performance, I have to recommend you watch Ikiru, shot two years after Rashomon. It’s not as polished, and is a bit clumsy in parts, but is by far Kurosawa’s most powerfully emotional film, and Shimura is fantastic. The song he sings in it brings tears to my eyes whenever I hear it. Ikiru means “to live” and is about a city bureaucrat who learns he is dying, and the story follows what he does in the last months of his life. Structurally, it’s very unexpected, but later makes perfect sense. Like Rashomon, you are left with much to think about. In fact, the themes of this film are something I have carried with me my entire life. Thanks for another marvelous review!
Thanks! I'm glad you enjoyed the video. :) I've got Ikiru on my watchlist.
@3:27 the big "Rashomon" type film is 1940s Citizen Kane. That's what Orson said, anyways... IMHO
This was one of your best reviews because you had to struggle with a different culture, language and history. I think the struggle was worth it because it leads us to the place where we can't take anything for granted. The descriptions of the different perspectives and your analysis were excellent. I also liked your comments about the forest, photography and music very much. This film's greatness is in it makes one think about it long after it is over. Thank you for watching it twice for us so soon.
Wow, thank you! Indeed, there's always something particularly meaningful about a film that provokes so much additional thought or inspires emotions that last long after the credits have rolled.
Great Film and Review.
Before watching the movie I had the impression it was about how people perceive events. But I don't think the movie is really about different perceptions, I think it suggests the story tellers are lying, not misremembering. I suppose the last story is the true one, in which case the bandit's story is somewhat close to the true, but slanted to make him more of an impressive figure (by his own standards). But I don't get why the woman or the medium tell the stories they do.
My first impression was not very positive, but I did start thinking about it afterwards so I am revising my opinion upwards somewhat.
Yes, I had a similar impression beforehand; as far as perception goes, it's more about how the audience's perception of what happened changes. The witnesses' stories vary too much to just be different perceptions of the truth. They're all lying, or some of them are lying, or some of them have convinced themselves that things happened a certain way... or something!
I'd like to add my observations of the movie. Firstly, from the beginning we travel through a lot of wood with the Woodcutter. Why ? What is wrong with all the trees he is passing ? Secondly, the action takes place over a fairly wide area. I would ask, how could the Woodcutter be able to see all of it and not be seen ?
There's a film called, The Woman In Question, also from 1950 starring Dirk Bogarde and Jean Kent, about the investigation into a murdered woman, whose life and character is shown in flashbacks in quite different ways and perspectives by people that knew her. If you haven't seen it, it's worth tracking down.
Interesting! I'll have to look for that one.
You were told to watch it in 2012...I haven't seen it since probably 2009 or 2010. I hardly remember it (beyond the main plot sketch). I will say that you remarked on Kurosawa's cinematography, and it always impresses me what he's able to do with black and white...so that when he finally gets to color films, he goes a bit wild. He's one of those directors that I wish did more films. He did plenty, but I wish he did more. Also, I feel I should say this more, but thank you for what you do. You watched this film (a difficult one), twice, for us and put together notes and a 20 minute video for us to enjoy on Saturday night. And you do that every week. It's "lo-fi" but still so well-presented. So...thanks for being awesome. :)
I think his first color film Dodes Ka Den is a masterpiece. But it was a flop both critically and financially upon release, so much so that Kurosawa contemplated seppuku. Thankfully, he recovered.
Ah, thank *you*!! :)
Thoroughly enjoyable video as ever Jerome! Loving your work!
Had a similar experience with Rashomon. Initially left cold by the troubling subject matter, but drawn in by the technical brilliance and artistry of Kurosawa, although it's a film I admire and respect more than love and cherish.
If you are looking for another hit of Kurosawa/Mifune magic, may I recommend High and Low, an underappreciated gem.
Cheers J!
Thank you! I've got High and Low on my watchlist. I've heard good things about it in the last year or so.
@@Weiselberry Is your watchlist like mine? It gets longer every week haha
I should also mention Ikiru and Ran as particular favourites of mine, but I'm sure you are well aware of these too!
Look forward to your next videos!
Yeah, pretty much. Hundreds of movies and it never stops growing! Yes, I'm aware of those too. :)
@@Weiselberry Well at least you'll never get bored!
You need to 'Do a Daisuke' and have a themed series running to whittle down your list...... absolutely loved your Godzilla series!
Although I can imagine it's both massively time consuming and stressful! Haha :)
I love your videos anyway, so please keep up the great work, and thank you so much for brightening up my day. Cheers!
Nice thanks
"It's about this rape..." That's what Kurosawa said about Rashomon. I stopped rewatching it, when that comment actually sunk in... IMHO
Thanks for this heavy important movie review! 😲
Great review as usual, Jerome. Fantastic flick! If you like this check out Harakiri (1962) which I think is a even better movie, IMO.
Thank you!
Excellent review of a movie I love.
I'll add my voice to the chorus of support. Yes, you have more than earned your chops in reviewing any movie you wish. However, more importantly you should never feel that your reviews need to present some new or blinding insight heretofore obscured to mere mortals. As you say, Rashomon has been so extensively (over-)analysed that it is incredibly difficult to say something genuinely new about it. But that doesn't mean that your opinion doesn't add something of value. You have excellent taste and judgement in film, as well as exceptional articulation. Though I don't (and can't) always agree with your opinion I always value it, thus it's a great pleasure to hear your thoughts on any movie, regardless of whether I learn something new (which happens frequently) or not.
Gratuitous flattery out of the way, I do have a question for you, if I may? When you answered your own question about liking the movie, your answer seemed a little hesitant, maybe ambivalent. Why was that? By that I don't mean that you need to justify your reaction - of course you don't - but I am very curious about what it was about Rashomon that, perhaps, didn't satisfy you, or left you a little disappointed?
Above all, thank you for this review - it's one of your best.
Thank you! The support and encouragement is much appreciated. From my perspective, no matter how well-received one daunting review may turn out to be in general, the next one still feels just as risky. Thoughtful comments like yours, though, do help to chip away at my reticence when it comes to starting intimidating discussions, and I'm grateful.
That statement wasn't meant to sound hesitant or ambivalent. I felt no disappointment with regard to this film. In fact, I found I enjoyed it more than I had expected to, particularly after the second viewing. That's in spite of the subject matter and historical period, which I'm not naturally drawn to. But I've heard a lot of hype for Rashomon over the years and approached it knowing it's a favorite of some of my viewers, and I didn't have *as* enthusiastic a reaction. There have been other films that, for one reason or another, resonated with me on a more personal level, provoking a warmer response than this one did. This is entirely subjective, of course, as you know. Films that strike an emotional chord with me won't have the same effect on someone else, and vice versa.
Parenthetically, I don't like making explicit "I liked this" or "I didn't like this" statements that much. It feels like I'm putting the movie through a pass/fail test when my takeaway is more complicated than that. I'd rather just say what I liked and what I didn't, and hopefully it'll be clear from that how much I liked the movie or not. But I've had a couple viewers over the years who complained that they couldn't tell if I liked something or not (or maybe they just wished I'd get to the point with a grading system like some other reviewers), so at times I throw that out there. I certainly don't want someone to get the wrong idea. (I realize it may sound like I put too much thought into this, but experience has taught me it's necessary. Besides, I don't like to be misunderstood or misquoted, so clarity is key. Nothing like having someone say, "Sorry you hated this one!" in the comments when that wasn't what I meant to convey at all.)
That is a very thoughtful response - thank you!
I wondered if perhaps your ability to enjoy the movie on its own terms was made more difficult by its reputation and its influence on so many other movies. I first saw it when I was quite young and knew nothing about it, assuming, based on the few Kurosawa films I had seen by that point, that it was going to be a swordfighting-heavy samurai action movie. At first I was disappointed that this was not the case...and then it blew my mind. I can understand, though, that feeling of watching it and appreciating its revolutionary nature while still not being able to escape the awareness of tropes that derived from it (and earlier movies, as you mention). I had a kind of underwhelmed appreciation for Wells' novel when I read it after seeing so many derivative versions of War of the Worlds. Similarly when reading Rider Haggard's King Solomon's Mines and She. It's hard for them to hold up as well once you've seen Indiana Jones or Lost Horizon.
On the setting, I take your point, but I think the characters and situation are much more universal than Japanese or even historical. There's a somewhat Jungian quality to the character archetypes and the crimes are all too human and relatable. I think that's why the movie transcends its home culture and a large part of what makes Kurosawa so powerful as a director - his movies tend so much to the universal and humanist that they "travel" very comfortably, much like the works of Shakespeare and Dostoyevsky that he enjoyed so much.
On that last point, I find it interesting that you mentioned in your review a kind of exasperation with the characters and story ("You're ALL guilty!") because I think Kurosawa implicitly shared a similar sentiment with the original short story. The addition of the baby at the end and the woodcutter's act of kindness were Kurosawa's, and many have speculated that he felt that there needed to be some good, some possible redemption, visible in the human, alongside the evil, hence the more optimistic end to a dissatisfyingly downbeat non-conclusion in the original story.
None of this is criticism, btw, I'm just sharing some thoughts. Like or don't like, I was simply curious to tease out your views a little more. Thanks again.
There's another review I would like for you to do...War of the Gargantuas....It may be hard or impossible to find but sometimes you can find free on roku
👏👏👏👏👏
Have you ever seen Ikiru? That's my favorite Kurosawa film, and I think my favorite film in general.
It's been on my list of films to watch for years, but I haven't gotten to it yet.
Masterpiece. 'Throne Of Blood', his Macbeth adaptation is my personal favourite Kurosawa, have you reviewed that one?
No, I haven't. I have seen it, though.
nice review - maybe you could see the thin blue line (1988) sometime
That's very interesting that the score contains 'Bolero'. I've never seen this film, so I'm curious as to why it is there and how it comes across in the middle of a movie set in fuedal Japan. You said that you found it distracting, so I imagine it is does not have any clear connection to what is happening on screen. Based on things you've said in other videos I'm guessing that your knowledge of, and taste in music, is as good as your knowledge and taste in film. Have you considered doing a video series where you discuss your favorite pieces of music?
It was definitely written for the film and is timed to sync with the bride's testimony. Since the rest of the score isn't necessarily of the time period, it doesn't sound out of place, but it is noticeably similar to the Ravel composition. According to what another commenter said, Kurosawa asked for something "like Bolero" and this is what Hayasaka came up with. (As to why that was what Kurosawa wanted, I don't know.) The rhythm, the percussion, the increasing instrumentation, the progression, and the phrasing are all very like Ravel's Bolero; the main difference is the central melody. It's actually a pretty neat thing. It's just that if you know Ravel's Bolero well and recognize the similarity from the first couple bars, you get a little distracted listening to the music to see just how like the other it's going to be instead of giving your attention to the story. :) I have actually considered doing a video on that topic. We'll see if it happens.
I first saw Rashomon when I was nine years old; my parents were watching it on TV on a Saturday night. This was the ENGLISH-DUBBED version. Though the dubbing actors tried hard, unfortunately they affect pseudo Japanese accents. Unfortunately, this comes across as unintentionally funny, and makes a strange movie appear even more strange. As a child, when I watched this movie all I could think was “Why are those people talking so funny? What is this WEIRD movie?”
I would like to hear your opinion about "Ratatouille"! :)
KUROSAWA! Will you be watching more of his films? Which have you already seen?
Honestly, Rashomon is not one of my favorite Kurosawa films. The supernatural aspect is a big turn-off for me. I want to like it, it being from Kurosawa (my favorite director) and featuring Toshiro Mifune, Takashi Shimura, and Minoru Chiaki (three of my favorite actors). But when the medium shows up in the film, I fast-forward past that part. I do dig the set, though; the Rashomon gate setting is fascinating, in my opinion, and I would have loved visiting it.
Great review, JW, as usual 👍
What I've seen: Throne of Blood, most of Red Beard, Yojimbo, Sanjuro, Stray Dog, Rashomon, and parts of Dreams when I was very little (sequences aired on tv as short films and young me thought they were really weird!). Ones that are on my watchlist include Ikiru, High and Low, Seven Samurai, Drunken Angel, and Scandal.
Yes, I wasn't keen on the medium section either. It was freaky, plus that kind of thing is not something I'm interested in watching in any movie. It made a strong impression, though... Thanks!
@@Weiselberry You have some great ones on your watchlist. Seven Samurai is my favorite of all movies. Other Kurosawa faves from your lists are Ikiru, Red Beard, Yojimbo, Sanjuro, and High and Low. I also dig The Most Beautiful, No Regrets for Our Youth, and I Live in Fear.
If I could recommend one for your watchlist, please, I'd strongly suggest The Hidden Fortress (one of the most influential films ever made, in my opinion).
I hope to see reviews of more Kurosawa films on your channel. Keep up the great work 👍
If you watch enough "human-condition" films, you begin to become quite cynical about our species. C'est la vie.
Two Fellini films I love. Both feature the excellent Giulietta Masina in the lead roles:
La Strada
Nights of Cabiria
I enjoy your videos.
Great review!
Thank you!
🖤🖤🖤
Rashomon is an epic movie. Probably the most influential movie.
I wonder if Chris Nolan was inspired by Akira Kurosawa.
Quick question, but have you seen Kurosawa's other film, The Hidden Fortress (1958)? You know, the film that was one of the inspirations for Star Wars.
No, I haven't.
@@Weiselberry I think you should. If you have HBO Max, it it streaming on that site.
if you are not particularly drawn to samurai films, some excellent kurosawa non-samurai films are high and low, ikiru, dersu uzala and the bad sleep well.
I've got both High and Low and Ikiru on my watchlist. I saw a portion of The Bad Sleep Well a few years ago, but I've never heard of Dersu Uzala.
@@Weiselberry Dersu Uzala is a very peaceful, meditative film, and is an odd one because it's shot in Siberia with Russian actors, based on a true story. Some Kurosawa fans regard it as one of his best. It's also his second color film if I recall, with some remarkable landscape shots that inspired George Lucas in star wars.
Great video! Are you on Instagram?
Will you ever do House of Frankenstein 🤔
ruclips.net/video/kYuIg7PrXUs/видео.html
@@Weiselberry thanks.. searched but couldn't find it ✌️
You're welcome. It's not immediately apparent that that's the right video because I didn't name the movie in the subject title. But if you use the channel search feature (the little magnifying glass on the main channel page), the right video comes up first.
I was put on to seeing this film by J Warner Wallace whose talk you might be interested in reviewing.🙂
ruclips.net/video/UGHAZAZiSGM/видео.html
Good video, thanks.