This movie works best when seen in as high a quality as you can find, as the forest and the light are the most important force in this movie. The sunlight through the leaves changes constantly making the whole "background" of the movie change perspective, shining new light on the matter with every scene. Simply beautiful.

An intricate (yet subtle) film which shines in all categories. Philosophically rewarding, as well as entertaining. I cannot think of a single unnecessary moment, nor a missing piece - it is perfectly balanced.

'Rashomon' is proof that sometimes, less is more. It has very few locations and characters, and yet this is completely overshadowed by top notch performances from everyone involved, and stunning photography far ahead of it's time. It features a bleak, philosophical story with a clear messege and perhaps one of the best ending scenes ever. Despite it's subtelty, I assure to you that every great modern thriller started here; in short, 'Rashomon' is a film with triumph written all over it.

What does truth mean to the human soul? This is the philosophical question that Akira Kurosawa dives into in this Absolutely Brilliant film, and he punches this idea into the back of your mind forever with his incredible genius. Kurosawa blends his mastering of the technical art of film with an incredible story and cinematography that blew my mind, it complements the elements within the story flawlessly, his directing is perfect! A must see for anyone serious about film.

The alternating perspectives are by turns fascinating, scary and pathetically hilarious. I particularly loved how differently Mifune comes across in each retelling.

A Kurosawa classic. This film is a unflinching look at justice and truth. A must see.

kurasawa's first masterpiece in my not-so-humble opinion

I think what makes this such a masterpiece is how close it touches to some real truths. Although the cinematography and crime-based plot engage the viewer, and the direction and acting execute the film successfully, it's the thoughts contained in it that really turn Rashomon into something transcendentally beautiful.

As a huge Kurosawa fan, I found myself more than a little disappointed in Rashomon, which many claim to be his best film. There are beautiful shots and innovative story telling techniques, but unlike films such as Ikiru, which mixes high grandeur with moments of intimacy and subtlety, Rashomon is all hyperbolic allegory with no real substance to back it up. I'm glad I didn't have to view this first, as did many film students. I might have been turned off from some real masterpieces.

This film delights in its complex narrative structure, which examines the discrepancy between the personas we present and the character they represent. Mifune's honor hungry Tajômaru is enjoyable, but Kyô's performance as the samurai's wife who would rather be a murderer than unfaithful is by far the most powerful. The ennui of the film's narrators reflect the ramifications of the multi-faceted narrative, but Kurosawa generously furnishes us with a hopeful conclusion.