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Rashomon
Directed by
Akira Kurosawa
Not Rated
1950
88m
[Crime](/on-demand/category/crime), [Drama](/on-demand/category/drama)
8.1
98%
93%
8.0
Add to Watchlist
Three parties and a witness have four versions of a rape/murder in ninth-century Japan.
More
Where to Watch Rashomon
Shout! Factory TV
Free
Tubi TV
Free
Criterion Channel
Subscription
+6 more
Cast of Rashomon
Toshirō Mifune
Tajômaru
Machiko Kyō
Masako
Takashi Shimura
Woodcutter
Masayuki Mori
Takehiro
Minoru Chiaki
Priest
Kichijirō Ueda
Commoner
Noriko Honma
Medium
Daisuke Katō
Policeman
Akira Kurosawa
Director / Screenplay / Editor
Shinobu Hashimoto
Screenplay
Ryūnosuke Akutagawa
Novel
Masaichi Nagata
Executive Producer
Jingo Minoura
Producer
H. Motsumoto
Set Decoration
Takashi Matsuyama
Production Design
Kazuo Miyagawa
Director Of Photography
Uichi Ôhata
Costume Design
Tokuzō Tanaka
Assistant Director
Teruyo Nogami
Script Supervisor
Mitsuo Wakasugi
Assistant Director
Rashomon Ratings & Reviews
Filmspotting
Adam Kempenaar
...the version of [each] story that's being told is still being filtered through the woodcutter and the priest... It's their version of what they saw or heard.
Epoch Times
Michael Clark
"Rashomon" isn't a whodunit thriller. Instead, it's an observation of the unreliability of human short-term memory, particularly of the multiple witnesses at a crime scene, who are also possible victims or perpetrators.
Gone With The Twins
Mike Massie
Thoroughly unique, crafting a recognizable template for future films that opt to distort their narratives through the eyes of multiple storytellers and unreliable presentations of facts.
Dare Daniel
Daniel Barnes
The fourth story is seemingly the most objective of them all, and it's probably the closest to the truth. But even in that story, there are big holes. Everyone has something to hide.
CBR
Howard Waldstein
What's revealed is a prismatic view of how people portray themselves, and how the truth is more complex than merely one single interpretation.
The MacGuffin
Allen Almachar
Kurosawa pushed through the boundaries of the artform to redefine storytelling itself.
Deep Focus Review
Brian Eggert
Rashomon implies that no real world exists at all, only the indifferent universe in which we invest our feelings and perspectives.
Battleship Pretension
Sarah Brinks
Akira Kurosawa's Rashomon is not only a well-made, well-acted film, it is a fascinating exploration of humanity and storytelling.
Boston Globe
Ty Burr
What Akira Kurosawa and his tiny production team wrought is now an accepted maxim of modern life, a creed by which to live in a world where everyone has a blog and an opinion.
Film.com
Jonathan F. Richards
Not many movies make such an impact that their names enter into the language. Rashomon is such a movie
Philadelphia City Paper
Sam Adams
Akira Kurosawa's four-way account of a man's murder has become so associated with its central device %u2014 not to mention its myriad offshoots %u2014 that it requires an effort to see it only for itself.
Washington Post
Michael O'Sullivan
Film buffs should love it. But so should anyone who appreciates a good yarn or two (or three or four).
TIME Magazine
Rashomon is a novel, stimulating moviegoing experience, and a sure sign that U.S. film importers will be looking hard at Japanese pictures from now on.
Variety
Variety Staff
This caused a flurry in critical circles for its brilliance of conception, technique, acting and its theme of passion.
Chicago Reader
Jonathan Rosenbaum
An impressive piece of work, visually and rhythmically masterful.
Austin Chronicle
It's not often that a movie title enters the common vernacular, but these days when we describe something as Rashomon-like we are referring to this movie's presentation of multiple versions of the truth.
New York Times
Bosley Crowther
Much of the power of the picture -- and it unquestionably has hypnotic power -- derives from the brilliance with which the camera of director Akira Kurosawa has been used.
Chicago Sun-Times
Roger Ebert
The wonder of Rashomon is that while the shadowplay of truth and memory is going on, we are absorbed by what we trust is an unfolding story.
Philadelphia Inquirer
Carrie Rickey
What Kurosawa implies in this haunting film is that in the retelling, inevitably every man will make himself out to be the hero or villain of the story.
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