Rashomon's Film Criticism

The film adopts flashback, an important means of time-space film, to organize the development of the whole film. It tells the different plots of an event from different angles of different people. I have seen a movie "vantage point" before (generally translated as assassination stronghold, also translated as looking into the peak across the ridge), which should be based on Rashomon's statement. At that time, I was still lamenting that the expression of the film "Assassination of a stronghold" was very unique, revealing the truth bit by bit through seemingly repeating the story over and over again. Quentin tarantino seems to have made a similar film. The advantage of this is that it can restore the facts from different angles, and it can also create suspense and hold the audience. As far as Rashomon is concerned, it has achieved the effect of showing the inner feelings of each narrator. Through the first story of the old man hiding from the rain in Rashomon, we probably know the general outline of the matter. Later, the same thing was expressed differently among different people in the yamen. Mainly as a robber. What he wants to express between the lines is his bravery-the samurai has played with him for 23 rounds, and no one has been able to play with him for more than 20 strokes before; The woman's words exonerated her of infidelity-after being killed by QJ, she longed for her husband's forgiveness and even asked him to kill her to end the tragedy. It was her husband's indifference that finally led her to stab him to death. The samurai successfully transferred the crime to his wife and robber through "possession by ghosts"-the robber first killed his wife in front of him, and his wife wanted the robber to kill him before eloping with the robber to the moon, not because he didn't try his best, but because his wife was too shameless; The final summary was finished by the first old man who told the story. After he admitted that he lied for the first time because he was afraid of disaster, he finally let us see the truth-in fact, everyone is deceiving himself, including himself. It can be said that the film always revolves around the selfish, suspicious and hypocritical topic of human nature. From everyone's story to the end of the film, the conflict between three rain shelters in Rashomon because of an abandoned baby and a kimono in its infancy is all about the dark side of human nature. But the old man said that he has six children of his own, and it doesn't hurt to have one more. It can be inferred that the old man really wants to take him as his own. In addition, in the penultimate shot of the film, the old man left Rashomon with the abandoned baby-a place symbolizing the darkness of human nature, and also showed Kurosawa's vision-as an abandoned baby, this should be regarded as the product of selfishness of human nature, thus representing the result of darkness of human nature, but at the same time Kurosawa finally kept it away from Rashomon, which means that human nature will still develop on the good side. Let's talk about scene scheduling. There is no denying that the scene scheduling of this film is very successful. Most of the scenes in the film are three people or three parts. For example, when the camera turns to Rashomon, there are monks, elders and people who go there to take shelter from the rain afterwards. Every narrator is basically the same when telling a story. For example, when a woman tells a story, there are monks and elders sitting in the middle of the background. The incident has always been a three-person state of samurai, samurai's wife and robber. Wait, these all imply instability, disharmony, falsehood and hypocrisy. In addition, in the fight between robbers and samurai, the two sides repeatedly put them up and down the camera according to their strength to show their momentum and strength. For example, in the 33-and-a-half minutes of the film, the robber lives above the camera and the samurai lives below it. The situation at this time is indeed that the robbers are at their peak and the warriors are in a weak position. On the tone of light, Kurosawa mainly uses low-key light to render the atmosphere dark, serious and tense. The sun shines on the three parties through the shade, forming a black-and-white interlaced effect, which also shows the illusory psychology of these three parties. At the same time, when the film is told by "Samurai", there is a scene in which the robber lets the Samurai go away, and the camera follows the Samurai, and then the Samurai sees a dagger stuck in the ground. The samurai stood and watched for a few seconds, and the dagger in the lens became brighter and brighter, which formed the Gao Fancha with the low-key light around. When the samurai walked towards the dagger, the dagger was a little darker, which was also a symbol of the process from birth to death. In terms of lens shooting angle, the film also has a strong directivity. When shooting a samurai's wife, the camera is usually shot from above to show her helplessness and weakness; When shooting warriors and robbers, they are basically head-up. The film basically adopts a closed form. The story takes place in a forest dominated by pine trees, surrounded by tall trees and weeds, and also emphasizes the sharpness of contradictions and conflicts.