The Universal Human Experience

“Egoism is a sin the human being carries with him from birth; it is the most difficult to redeem. This film is like a strange picture scroll that is unrolled and displayed by the ego.” – Akira Kurosawa

In an era where human nature and its values seem increasingly compromised, one must question: what drives us to deceit, violence, and moral ambiguity? Are humans inherently flawed and cynical? These aspects of human behaviour can be seen through various lenses and are often interlinked with our fundamental nature and the environments we inhabit.

Rashomon is a 1950 Japanese period drama directed and written by Akira Kurosawa. It is a striking tale that focuses on how different parties narrate an event in a contradictory and self-serving manner, which not only reflects their subjective and biased interpretations but also hides the objective truth.

Kurosawa's Rashomon offers a profound exploration of drivers of deception, savagery and moral conflict – self-interest, shame, honour and fear – within its culturally rich, fragmented and non-linear narrative framework. The film’s exploration of these themes resonates universally, illustrating that while the specifics of human behaviour may vary across cultures, the drivers are human and universally recognizable.

Drivers of human deceit

This film set in the Heian period of Japan explores the subjective nature of truth through the conflicting testimonies of four characters about a crime: a samurai’s murder and the rape of his wife. A woodcutter, a priest, and a commoner discuss the varying accounts at a ruined gate. The bandit Tajomaru, the wife Masako Kanazawa, the deceased samurai Takehiro Kanazawa (through a medium), and the woodcutter each tell different versions of the events, highlighting their own perspectives and biases. The film delves into themes of reality, perception, while blurring the line between truth and dishonesty, leaving the audience to question the nature of human honesty.

The narrative unfolds unfolds through the eyes of four individuals, each of their testimonies shaped by personal motivations and emotions:

Self-interest and survival 

The bandit Tajomaru's testimony paints himself as a proud and strong man who wins the samurai's wife by defeating her husband. His narrative is driven by his desire to appear powerful and honourable in his own way, despite his criminal actions.

 Shame and guilt

The samurai's wife presents herself as a helpless victim, perhaps to gain sympathy and justify her actions. Her account highlights her struggle with shame and guilt, emotions that compromise her ability to present an objective truth.

 Pride and honor

The deceased samurai, speaking through a medium, depicts himself as dignified even in death. His account suggests that his honour was paramount, influencing his portrayal of events.

 Fear and complicity

The woodcutter initially withholds crucial details, driven by fear and a desire to avoid involvement in the crime. His eventual admission, influenced by his conscience, adds another layer of complexity to understanding human motivations.

Each character has a mix of virtues and flaws, making them neither wholly good nor evil. This moral ambiguity resonates with audiences because it mirrors real-life complexities where motivations and actions are often not clear-cut. Issues like selfishness, honour, and the struggle for truth are explored in a way that is culturally transcendental, making the film relatable to the audience.

Cultural context

The unique cultural perspective offered by Kurosawa reflects both the Japanese traditions and universal human experiences. Its setting and thematic elements provide a window to peep into Japanese culture while addressing themes that resonate globally.

The film is set in feudal Japan, a period known for its rigid social hierarchy, a strong warrior code and a sense of honour. This historical context shapes the characters' actions and motivations, reflecting the cultural values of the time. The emphasis on honour and reputation is a key element of the samurai culture, which influences the characters' narratives. The characters, including the samurai and his wife, embody the complex code of honour and ethics that defined the samurai class. These elements provide an insight into Japanese values and societal norms, offering a perspective that is different from Western traditions.

Kurosawa’s use of natural settings, such as the forest and the Rashomon gate, and his attention to weather elements like rain and sunlight, reflect traditional Japanese aesthetics that emphasize harmony with nature. The film also employs various symbolic elements. One can argue that the gate in Rashomon represents a boundary between the civilized world and the chaotic, ambiguous world - symbolizing the transition from the safety and order of the city to the lawless state of the surrounding forest. The decayed state of the Rashomon gate could also symbolize the deterioration of human values.

Hope and redemption

So, I guess it’s time to tackle the question lingering in our minds. Are we inherently flawed?

According to the context provided by Rashomon, yes. At its core, Rashomon is a critique of society and its deteriorating human values. Kurosawa illustrates flaws in human nature through the narrative and characters. However, the exploration of human nature in the film includes both dark aspects (like deceit and violence) and hints of hope and redemption. Contrary to the vibe of leading up to its final moments, the movie ends on a rather hopeful note. This duality speaks to the universal human experience of grappling with inner conflicts and striving for personal growth.

In the third act of Rashomon, the focus shifts to the aftermath of the testimonies given in the court. The setting returns to the Rashomon gate where the woodcutter, priest, and commoner take shelter from the rain. Here, the woodcutter reveals that he witnessed the events surrounding the samurai's death, offering a different perspective from the previous testimonies.

The woodcutter's version suggests a less heroic series of events, where the bandit, Tajomaru, and the samurai are portrayed as less honourable than in their own stories. The fight between Tajomaru and the samurai, triggered by the samurai's wife, is depicted as clumsy and desperate, contrasting with the more dramatic versions previously recounted. The samurai's death, in this retelling, is accidental and pathetic rather than noble or dramatic.

As the woodcutter finishes his account, the commoner accuses him of stealing the valuable dagger used in the crime, exposing another layer of weakness and dishonesty. This accusation further reinforces the film's exploration of subjective truth, fear and complicity.

The act concludes with the arrival of an abandoned baby at the gate. The commoner shows his true colours by stealing the baby's clothes for his own personal gain, but the woodcutter decides to take the baby home to care for it. This act of kindness offers a glimmer of hope amidst the cynicism and deceit, suggesting that compassion and goodness can still prevail despite the flawed nature of humanity. This closing action brings a sense of redemption and underscores the film's complex portrayal of human nature.

While opinions on human redeemability may differ, Kurosawa’s Rashomon wants to highlight that redemption is possible. Humans have the capacity for change, moral growth, and improvement. Philosophical, religious, and cultural perspectives all offer pathways to redemption, highlighting the potential for individuals to atone for their actions and strive towards a better, more ethical life.