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Rashômon (1950)
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Revisión
Calificación de los usuarios:
Fecha de Lanzamiento:
26 diciembre 1951 (USA) másFrase comercial:
The husband, the wife...or the bandit?Plot:
A heinous crime and its aftermath are recalled from differing points of view. full summary | full synopsisPremios:
Nominated for Oscar. Another 7 wins & 2 nominations másComentarios de los usuarios:
A brilliant masterpiece from a masterful director másReparto
(Reparto completo)| Toshirô Mifune | ... | Tajômaru | |
| Machiko Kyô | ... | Masako Kanazawa | |
| Masayuki Mori | ... | Takehiro Kanazawa | |
| Takashi Shimura | ... | Woodcutter | |
| Minoru Chiaki | ... | Priest | |
| Kichijiro Ueda | ... | Commoner | |
| Fumiko Honma | ... | Medium | |
| Daisuke Katô | ... | Policeman |
Más detalles
También conocida como:
In the WoodsRasho-Mon (USA) (alternative spelling)
Rashomon (Japan) (alternative transliteration)
Rashomon (Argentina) (Spain) [es]
más
Parents Guide:
Add content advisory for parentsDuración:
88 minPaís:
JapanIdioma:
JaponésColor:
Negro y BlancoRelación de Aspecto:
1.37 : 1 másSonido:
Mono (Western Electric Recording)Clasificación:
Australia:M | Argentina:16 | Canada:G (Quebec) | Chile:18 | Finland:K-16 | Spain:13 | Sweden:15 | Switzerland:14 | UK:12 | UK:X (original rating) | USA:Unrated | West Germany:16 | USA:PG-13 | Singapore:PGLocaciones de Filmación:
Nara, JapanCosas divertidas
Trivialidades:
This film is often given credit for the first time a camera was pointed directly at the sun. In Kurosawa's biography, he gives credit to his cinematographer for "inventing" it and himself for using it, but years later, during commentary that preceded the TV showing of the film, the head of the studio claimed credit, which Kurosawa bitterly denies. másCitas:
Commoner: But is there anyone who's really good? Maybe goodness is just make-believe.Priest: What a frightening...
Commoner: Man just wants to forget the bad stuff, and believe in the made-up good stuff. It's easier that way.
más
preguntas frecuentes
What movies are inspired from or similar to Rashomon?Is Rashomon based on two stories?
What is a "Rashômon"?
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| Las 250 películas principales de IMDb | IMDb Crimen section | IMDb Japan section |
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"Rashomon" was Akira Kurosawa's first national hit (becoming, at the time, the highest-grossing foreign film in America) and even gained an Oscar for Best Foreign Film, but almost sixty years later it still hasn't lost any of its impact. It is widely revered as one of the most influential films of all-time, but unlike some other movies, it is not a film that feels dated. The revolutionary methods of Kurosawa are still effective and on-par with the cinema of today -- this isn't a movie where you say, "Yeah, fifty years ago it might have been different, but now it's done in all the movies." Kurosawa's techniques are still superior to most of his imitators. Look at the 2003 John McTiernan film, "Basic," which copies a good portion of "Rashomon's" concept. Which is the better film? It's not a hard choice.
The film begins under a structure which reads "Rashomon" on its exterior, in a small Japanese village. It's raining outside and a woodcutter (Takashi Shumura) and a priest (Minoru Chiaki) inadvertently find themselves in the company of a wandering commoner (Kichijiro Ueda), and as he asks them what is the matter they both begin to relay the most horrific story they claim to know -- of a brutal murder a few days prior.
Kurosawa then switches to flashback and we see three different versions of the exact same event -- the slaying of an innocent man (the murderer played by Kurosawa film regular Toshirô Mifune) in the woods outside the village. Was it because of lust? Betrayal? Envy? Or insanity? We hear from the murderer, the wife of the victim, and a woman channeling the spirit of the dead man.
"Rashomon" is brilliant. Some people have complained that the ending is a cop-out and sentimental hogwash, but I think Kurosawa was fond of sentimentality to a point (he uses a good deal of it in "Ikiru") but the difference between what he does with sentimentality as opposed to many filmmakers of today is that he uses to to ENRICH the story, not provide an easy solution to all the problems.
Is there resolution in the finale of "Rashomon"? To a degree. But, like "Ikiru," it also leaves an open answer to its audience -- this film questions us, and our humanity, and it says something about the human condition and our weaknesses as a species. Yet it also proposes that along with the evil is an inherent good, and in my opinion the message of "Rashomon" is just as important and effective as its film-making techniques and acting.