---
product_id: 77365810
title: "Rashomon 1950"
brand: "bfi"
price: "฿3188"
currency: THB
in_stock: true
reviews_count: 8
url: https://www.desertcart.co.th/products/77365810-rashomon-1950
store_origin: TH
region: Thailand
---

# Rashomon 1950

**Brand:** bfi
**Price:** ฿3188
**Availability:** ✅ In Stock

## Quick Answers

- **What is this?** Rashomon 1950 by bfi
- **How much does it cost?** ฿3188 with free shipping
- **Is it available?** Yes, in stock and ready to ship
- **Where can I buy it?** [www.desertcart.co.th](https://www.desertcart.co.th/products/77365810-rashomon-1950)

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- bfi enthusiasts

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## Description

Rashomon 1950

## Images

![Rashomon 1950 - Image 1](https://m.media-amazon.com/images/I/81qYkxeor3L.jpg)
![Rashomon 1950 - Image 2](https://m.media-amazon.com/images/I/81RkYIWoR5L.jpg)

## Customer Reviews

### ⭐⭐⭐⭐ 







  
  
    Game changer in modern cinema using multiple perspectives & introduced Kurosawa to the world
  

*by J***G on Reviewed in the United States on September 14, 2019*

Postmodern before postmodernism. Introduced flash backs, a fractured plot, and different perspectives years before it became the norm. Rashomon was a game changer in cinema when it was released in 1950 by famed Japanese director Akira Kurosawa.Three vagabonds played by Takashi Shimura, Minoru Chiaki and Kichijiro Ueda meet in an abandoned temple. One has a tale that he finds outrageous that it challenges his idea of humanity.What happened is then told by different characters each with a different perspective of what happened. That includes Takashi Shimura who was a woodcutter who came across a dead body of a samurai played by Masayuki Mori in the forest. Then Minoru Chiaki adds how he first came across the samurai and his wife played by Machiko Kyo. Third is Daisuke Kato, a policeman who caught Toshiro Mifune who is accused of the crime. He came across Mifune acting like a crazed man. Next is Mifune himself who looks like a caged animal as he testifies bound before the judge. Kyo adds her own tale, and there’s even a psychic played by Noriko Honma who recounts the samurai’s experience. The narrative weaves back and forth between those characters.Kurosawa used a deft hand to introduced the characters and story. Shimura for example, first found Machiko’s hat in the woods. Then Minoru only saw a glimpse of her upon her horse and her large hat with a shroud around it. Mifune actually gets a glimpse of her face, which intrigues him. He tells the judge he thought he saw a goddess. It turns out this woman is at the center of everything that transpired, it’s just that no one has the same recollection. Was she the cause, the victim, the instigator or all or none of the above.Kurosawa never establishes which one was the true tale. Perhaps they all were and just represented the unique perspective of each character? Today this technique is routine, but they all pay homage to Kurosawa.C

### ⭐⭐⭐⭐⭐ 







  
  
    Sometimes dishonesty is the best policy
  

*by C***S on Reviewed in the United States on July 17, 2021*

𝑰𝒕'𝒔 𝒉𝒖𝒎𝒂𝒏 𝒕𝒐 𝒍𝒊𝒆.𝑴𝒐𝒔𝒕 𝒐𝒇 𝒕𝒉𝒆 𝒕𝒊𝒎𝒆 𝒘𝒆 𝒄𝒂𝒏'𝒕 𝒆𝒗𝒆𝒏 𝒃𝒆 𝒉𝒐𝒏𝒆𝒔𝒕 𝒘𝒊𝒕𝒉 𝒐𝒖𝒓𝒔𝒆𝒍𝒗𝒆𝒔.Rashomon (Japanese: 羅生門, Hepburn: Rashōmon) is a 1950 Jidaigeki psychological thriller/crime film directed by Akira Kurosawa, working in close collaboration with cinematographer Kazuo Miyagawa.In 12th century Japan, a samurai and his wife are attacked by the notorious bandit Tajomaru, and the samurai ends up dead; Afterwards, four people recount different versions of the story of a man’s murder and the rape of his wife.Decades before  ‘Rashomon’s  conception ‘In a Grove’ was published by Ryunosuke Akutagawa in 1921. It's story in regards to its premise is simplistic and in essence identical to 𝑹𝒂𝒔𝒉𝒐𝒎𝒐𝒏, with their key similarities and differences revealing much about Kurosawa’s purpose and the creative advantages that come with his medium of choice. 𝑹𝒂𝒔𝒉𝒐𝒎𝒐𝒏 and ‘In a Grove’ include a collection of monologues that contradict one another in the context of an investigation on points that are both trivial and significant, with these inconsistencies being linked to the amount of control each character has over their own fate, their separate reputations in passing, and to some extent the grander relationship between accountability and self-deception. ‘In a Grove’ favors ambiguity over clarity in that it leaves readers with an open-ended conclusion and thus the responsibility of solving the crime in question, and this can only be done with assumptions and projections being made about the characters and human nature as a whole. Further borrowing from another one of Akutagawa’s short stories  that is also titled ‘Rashomon’, Kurosawa introduces a seemingly unbiased account that serves as a resolution, but it still segues into conversations and behaviors that speak to the complicated and entangled elements that go hand-in-hand with morality and or sound decision makingStraightforward as it might be – 𝑹𝒂𝒔𝒉𝒐𝒎𝒐𝒏 uses visual cues to further enhance its content and themes using techniques that (especially) at the time were particularly revolutionary. Cinematographer Kazuo Miyagawa’s use of the handheld camera adds a tangibility to the obtrusiveness Kurosawa’s characters are subjected to as they are followed rather closely with the triangulated relationship between the Bandit, wife, and husband being emphasized through a series of close-ups and shots being edited together in a way that makes them deceptively continuous as opposed to a series of sporadic interactions. More interestingly - Miyagawa and Kurosawa’s use different variances in natural lighting (including shots directly towards the Sun) with the exposure to it (and metaphorically, to the absolute truth) being directly affected and obscured by elements that are both present by chance and deliberately imposed. Perhaps unfortunately - many scenes appear more optimistic than intended to be due to Kurosawa’s inability to manipulate the scenery to his wishes, but ‘𝑹𝒂𝒔𝒉𝒐𝒎𝒐𝒏’ openness to interpretation continues to speak for itself.Most notably - the largest discrepancy between Akutagawa's original piece and Kurosawa’s screenplay is the way in which the primary female character (Masako) is represented and the effect they have on the overarching story. In both versions Masako is prone to bursts of violence or hostility, but the difference is in the provocation of them and the capacity in which traditional gender roles call all of (if not most) the shots. Kurosawa's tendency to portray his female characters as being radically different from the stereotypical Japanese woman from the Meja era is far from a coincidence. Born on March 23rd, 1910, Kurosawa was raised with exposure to both the customs of a stern Samurai father and a traditional housewife mother. In his own autobiography Kurosawa speaks highly of this primary maternal figure out of an admiration for her inclinations towards mental over physical courage, and through his recollections implies that he subsequently learned to resolve conflict by means of impactful discourse as opposed to those that are aggressive or violent. On a larger scale, 𝑹𝒂𝒔𝒉𝒐𝒎𝒐𝒏 also acted as a way for Kurosawa to capitalize on the assertion that females by their very nature are subservient and/mere accessories of support for their husbands while inconspicuously relaying what  Kurosawa observed them as 𝒄𝒂𝒑𝒂𝒃𝒍𝒆 of being despite being unsupported as a belief by the larger cultural context of its production and  release:  independent and self-sufficient.Consequently, Masako is written as having an interest in maintaining the status quo as it relates to the expectations that come with being a female while successfully earning the upper hand  in all of the eyewitness accounts documented by virtue of manipulation and clever facades without appearing over-zealous or merely outlandish as an individual.Both placating and antagonistic - 𝑹𝒂𝒔𝒉𝒐𝒎𝒐𝒏 stays partially true to Akutagawa’s initial vision while tactfully inserting dynamics and correspondences that may now act as insight in to Kurosawa's own ideals and values as they concerned a category of women that had not yet been seen or accepted in the public sphere of Japan. As if done in a self-referential way, through 𝑹𝒂𝒔𝒉𝒐𝒎𝒐𝒏 Kurosawa manages to lie to his audience by refusing to simply make a carbon copy of ‘In the Grove’ while simultaneously remaining true to himself.What can I say? Maybe sometimes dishonesty is actually the best policy.

### ⭐⭐⭐⭐⭐ 







  
  
    UNIQUE CLASSIC
  

*by D***V on Reviewed in the United States on January 18, 2011*

The film Rashomon is a pure classic. The acting and plot twists make this a truly enjoyable movie to watch for everyone from film students to casual viewers. When you start watching the classics, you start to realize that modern film is built off of classic film like this. Truly, Akira Kurosawa's much revered movie has become a model off which countless other movies have been made. Overall, the film is enjoyable to watch, and the storytelling is superb, especially when taken in perspective with modern film. The structure of the story is one which has been copied in many movies, even those which are quite famous.What makes Rashomon notable, besides the fact that it was made in 1950 in Japan, well before the modern convention was used in most films, is that is uses a non-linear approach to the tale. Instead of having a static protagonist and setting, the same story is told from many points of view. In Rashomon, there are four main perspectives from which the same story is told. The event which the story revolves around is a rape and murder. However, just as in real life, the truth about what really happened is not as clear as we would like.The movie is full of action which keeps most viewers entertained, but it is also home to a stunning story of truth, justice, and consequences. The director, Kurosawa, focuses on the difficulty in knowing what human nature is really like, as it goes through the different perspectives of the characters in the story. The picture is better because background information about the film indicates that the director's favorite actor, Toshiro Mifune, plays the lead role. This unity is obvious throughout the film which is a work of art.

## Frequently Bought Together

- Rashomon [1950]
- Kurosawa: The Samurai Collection [4 Disc Set] [1954]
- RAN (Vintage World Cinema)

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*Product available on Desertcart Thailand*
*Store origin: TH*
*Last updated: 2026-02-27*