EJ Paras’s review published on Letterboxd:
In the end you cannot understand the things that men do.
Wow, what an ending! I mean, what a movie!
This past Sunday was my first Bergman film, now this is my first Kurosawa film. There’s no syllabus in this personal film school I enrolled myself in, but I’m enjoying all of these classic films that I’m only just getting to now in the year of our Savior, Bong Joon Ho, 2020.
Back to Rashomon, I absolutely admired this film’s twists and its innovative camerawork — specifically the courtyard scenes as well as some of the sword fight scenes in the woods. Reading up on some trivia a bit after watching the movie, this movie features one of the earliest uses of the “hand-held” camera technique. It felt very natural to me!
Speaking of the sword fights, I appreciated watching all of the choreography unfold. Wasn’t nauseating at all watching Toshirô Mifune and Masayuki Mori fight. Can’t help but (wishfully) think that this film was an influence to some of the Star Wars lightsaber choreography?
Ooh, I can’t wait to watch Seven Samurai! (!!!)
Toshirô Mifune was dynamite. I’m only making these discoveries a mere 70 years after the fact, but it’s no wonder that this film made him a global star, especially in Japan. From the second Tajōmaru is introduced as a character, I thought to myself, “damn, this man is crazy. The actor is so convincing.”
As I said before, this personal film school I’m in has no syllabus. I’m glad there was no required reading beforehand. And clearly I drained some of my sociology or psychology courses from college or high school from my brain, because I totally didn’t remember (or hell, even know) that the term Rashomon effect exists because of this movie!
*insert Al Pacino meme, what a picture!*
I don't understand. I just don't understand. I don't understand it at all. I just don't understand.