The Rashomon Effect: A Commentary on Humanity
Since 1950, Rashomon has captured the eyes of audiences around the world. Whether it be the film’s captivating commentary on human behavior or its nonlinear story filled with topsy-turvy accounts of the murder of a Samurai and the rape of his Wife; Rashomon has managed to stay relevant after almost seventy-years. The film was one of the first in history to capture the uncanny phenomenon of people recounting the same event, but each with their own version on how the event played out. This phenomenon would later be coined the “Rashomon Effect.” The Rashomon Effect is not only an amazing plot device in its own right, it also encapsulates the relativity of truth and the inevitable unreliability and subjectivity of human memory.
Rashomon makes it apparent that man is quite possibly his own worst enemy. Whether it be the pessimistic yet hopeful “sermons” from the Priest, the Commoner, the Woodcutter, or the accused Samurai killing bandit Tajomaru played by the legendary Toshiro Mifune, each character in the film is contradictory to the next. When Tajomaru is giving his account of the murder to the court he makes it apparent to note the Samurai’s Wife begged to be with him after he assaulted her. He even goes as far to say she pitted both men against each other in what is to be described as a “glorious” duel between the bandit Tajomaru and the Samurai.
Both the Husband and Wife’s account of this event greatly differ from the one Tajomaru gives. Each of the three stories given in court not only offer the viewer an account of events from three different perspectives but it also gives us a display of their true character and selfishness. Tajomaru’s story is what can only be described as glorification of his dastardly deed. In his mind he outsmarted a samurai, stole his Wife , and killed him in a duel where he bragged they crossed blades ``twenty-three times” where no man has ever gotten past “twenty times”.
The Wife’s account was more of a tragic recount of events. In her recount she didn’t beg them to kill each other out of shame, but rather she asked her Husband to kill her for her shame of being raped. The Wife could not get over the cold stare her Husband gave her as he sat tied up in front of her. Eventually she tells the court she blacked out and when she regained consciousness she found her Husband with a dagger in his chest. This account is quickly disproven by the court due to the fact there was no mention of his sword which was clearly used to kill him.
The Husband’s account was told through a medium which we’re led to believe is an accurate retelling of what transpired between the bandit, the samurai, and his Wife. The Priest even goes as far to say “Dead men have no reason to lie” and when he’s questioned by the commoner, the priest only has this to say, “I refuse to believe that man would be so sinful.”. Such hopefulness is something that resides in all humans. No person wants to absolutely believe man is just so darn right nasty, yet this hopefulness is combated by the commoner’s skepticism in his fellow man. Constantly rambling on about how it is basically within human nature to lie because we can’t even be honest with ourselves.
And though we have these two combating forces of Hope and Skepticism, there is a third facet of human nature that is rampant in the film, that being regret. We spend the whole film listening to three different perspectives of this murder all from the people involved, but there is a fourth account of events. The account of an innocent bystander who lied in court about not seeing what had happened to the samurai only saying he was the one who stumbled upon the body. Towards the end it is revealed the woodcutter was hiding something from the priest and commoner as they tell the scandalous tale of this murder. The woodcutter tells the other two men that the story the medium shared was a false account, and how does he know that you may be asking yourself. At that moment it is revealed that the woodcutter saw the whole incident transpire from the safety of the bushes.
The woodcutter’s account of events is probably the most truthful accounts of events but one can’t be sure due to the doubt that has already been cast on these conflicting tales. His account is similar to the other three and almost steals pieces from the tales told by the parties involved in this tragedy. Ironically enough his retelling is cast aside as a lie by the commoner. The priest is visibly shaken by hearing the other two men bicker on the validity of the tale, going as far to say “If men don’t trust each other, this earth might as well be hell.”. The commoner retorts by saying, “That’s right. This world is hell.”, The priest replies “No, I believe in man”.
It is in that line where the whole film makes sense. All the retellings of the murder and rape mean nothing if we can’t walk out believing at least one of the stories. Are we the hopeful priest or are we the skeptical commoner who has already lost hope in man. This point is brought home in the closing scene where the three men discover a baby in the rundown temple they are sheltered in. The commoner robs the fine fabric that is with the abandoned child. When confronted he simply justifies his actions by calling the people who left the child evil and his actions as an inevitability; because as the phrase goes “If not me then someone else will”. Such selfishness is what is needed to survive in such a harsh world, right?
This commentary on human action is one I constantly ponder. Are people good or is the world so horrible that it has turned man against each other. Akira Kurosawa answers this question with the hopefulness of the priest character. When the commoner walks off with the fabric after calling all men selfish and stating that selfishness is the only way to survive this cold world. The viewer is met with delight when the woodcutter attempts to take the baby from the priest. Initially the priest is apprehensive because he believes the woodcutter only wishes to steal whatever belongings the child has left, but to our surprise he wishes to take the baby so he can care for it. Explaining to the priest he already has six children at home and what difference does having another make. The priest is relieved by the answer the woodcutter has given him. Going as far as to thank the woodcutter and stating this action has restored his faith in man.
All these discoveries and questions would not be made possible if not for the Rashomon Effect. The skeptism that is bred from these conflicting retellings of the samurai’s murder and the rape of his Wife has brought up this question of whether there is hope in humanity. Do we all lie out of self preservation or to convey this image we’ve created for ourselves? And honestly there are no real answers, but the Rashomon Effect opens up the discussion on human nature. Through all the lies there are some truths and even if there are no truths we must walk away with the hope that we as a people rise up when the moment is right. That when all hope is lost we must be that guiding light for someone. Just as the woodcutter at the end of it all was the sliver of hope the priest needed to continue his faith in humanity.
