Rashomon

This early work from Akira Kurosawa (1950) lit up the '51 Cannes' festival, and is the point from where Japanese cinema really made its entry into the Western world. It is a fine film, an excellent piece of what is clearly early Kurosawa in themes and direction.
The use of the point of view is an interesting one. While at once Kurosawa enjoys creating scenes of mystery, by refusing to reveal what is in store or indeed what a character can see (partly for censorship reasons), the camera does in fact quickly enter back and forth into each characters viewpoint. This means we have a process of identification-lite. We have no stern viewpoint to see from, but rather a series, mirroring of course the films major theme, of the many-faceted ambiguities and disguises of this thing we like to call 'truth'.
The use of the camera to stalk us through the forest, almost as a voyeau for some of the action, reinforces this idea of our obscured view. The use of the forest is marvellous, in many ways it is the central character. The shadings, the hidings and occasional uncoverings, resonate throughout story and image. The use of brief illuminations, and indeed the general black and white contrasts, can be intensely beautiful, especially in the radiances of the white and of the knife.
The finest scenes are though perhaps those around the framing device, where we have the end of the world, the brutal seemingly everlasting rain, the house (of God? Of humanity? Of truth?) collapsing in. These are atmospheric, well played, and mournful. The ending? Kurosawa goes where he wants to go, and creates some fine images out of it. It is well executed, as are a number of other devices (the medium, for example) that may appear difficult on paper.
The acting is impressive, Mifune probably did what he did best in 'Seven Samurai' but is still excellent. As indeed are they all, notably the husband.
Overall, a film that deserves the title 'seminal', for its narrative audacity (it really builds up the tension and excitment as it goes), its introduction of Japanese cinema to the world, and its overall place as simply an example of fine filmaking. Recommended.