Rashomon, is a 1950 Japanese crime drama film directed by Akira
Kurosawa that is considered one of the most influential cinematic endeavors of
that era. It transcended beyond the boundaries of Japanese cinema, to make a
deep impact on cinema worldwide.
As
a crucial filmmaking technique, Editing essentially is all about “time”,
whether it’s real time, story time or perceived time. But one of the most
significant aspects that the art of editing exemplifies is establishing the
perspective in the story. The way a particular scene is set-up is heavily
dependent on the way it’s dealt with while editing in the post-production
stages. I would say that the last statement is a major misconception that most
people have. In reality, Editing essentially happens in the mind, way before
production. While you write a scene, you envision the sequence as a series of
images in your mind, and that’s what lays the foundations for a sound
storytelling process. In my opinion, that’s Kurosawa’s strength as a filmmaker.
Rashomon exhibits finesse of storytelling primarily because of the clear
perspectives that are demonstrated as the story unfolds. Credited also as the
editor of the film, Kurosawa’s vision displays a sense of clarity, especially
in terms of “point of view” OR “perspectives”.
The
films presents us four different versions of the story of a bandit’s violent
attack on a nobleman and his wife in a forest. Kurosawa used the “form” of
filmmaking in an intrepid and unconventional fashion, illustrated through
lively editing.
The
first story is told from the perspective of the “bandit”. There is a heavy
usage of close-ups, Mid-close ups, and Mid-shots of Tajamaru while he slyly
captures the samurai. As he gazes at the princess from a distance, the shot
composition changes to a heavy dose of over-the-shoulder and point of view
shots, illustrating his perspective to us, as an audience. Also, the
presentation of the fight between the bandit and the samurai is energetic. The
editing style supports Tajamaru’s version of the story. But one cannot deny the
fact that the foreground-background relationship keeps changing between shots,
which suggests a battle of equals rather than a one-sided contest. There is a
lot of cutting on movement within the frame while the combat takes place.
The
second story is told from the point of view of the wife. In this version, the
bandit runs off, and the wife, using her dagger, frees the samurai. The husband
is filled with disdain towards his wife as she gets raped. The wife is unable
to take the expression of contempt in his eyes and faints, and then wakes up to
see her husband inexplicably dead, with the dagger in his chest. This version
is calculated and complex in its treatment. The audience is presented with
Close-ups of the wife, and not to forget - a beautiful dolly shot, which starts
from an over-the-shoulder of the samurai, and transforms into her
over-the-shoulder as she offers him the knife. An important aspect to take note
of is the heightened background score that is instrumental in building tension.
The score is efficiently incorporated between shots, and the beats match
several cuts to elevate the proceedings to a high in this intense version of
the story. The editing succeeds in supporting the wife’s characterization as
the victim, as it presents the story from her perspective.
The
third version is presented from the point of view of the dead husband,
hauntingly told through the “medium”, presents him as the victim. As the
version unfolds, we see that the Samurai’s shame of his wife’s rape was so
great that, seeing how his wife lusts after the bandit, he decided to take his
own life using the dagger. An interesting choice is made in terms of editing as
he is frequently placed in the background, at a distance from the frame,
emphasizing his powerlessness and painful struggle. Even though the cutting
back and forth from the court scenes to the samurai’s version is dynamic and
crisp, there is a usage of long takes when the struggle of the husband is
presented. The editing helps in communicating his struggle as he decides to
kill himself.
Finally,
there is a version of the woodcutter. His version is completely different from
the other versions. He says that the wife was amazed by the bandit and that a
combat between Tojamaru and the samurai did take place, but was essentially a
contest of cowards. Both were reluctant to fight each other. As a result, the
fight is rather inept. Eventually, the bandit kills the samurai. The editing of
this version is very deliberate and sluggish as shots are held for a much
longer time than in any of the earlier interpretations. Not only is there a
usage of long takes, but of long shots as well. There are less frequent cuts,
and slow unfolding of proceedings in general.
Focusing
on individual instances, several editing masterstrokes come to light. Like the
sequence when woodcutter runs through the forest and the camera tracks
adjacently to him. Also, just before that when the woodcutter walks through the
forest, we see him at some distance, but gradually it cuts to more closer
shots. In one of the shots, the camera begins on his “long shot composition” at
an angle, continues tracking, and crosses the path in front of him in close-up,
and continues tracking. Thus, as an audience, the perspective reverses, and a
sense of movement is conveyed as well. Thus, it’s an extremely effective
sequence to illustrate the character’s experience.
Also,
one more particular detail to take into account is the fact that the
proceedings in the court are always seen from the perspective of the
magistrate, who is only heard and seldom shown. Thus, it puts the audience in
the shoes of a “judge” to form their own interpretation of the truth.
Kurosawa
employs the use of a transition called “Wipe”, which denotes the perspective
with which the story is being told. At the same time, he uses “Dissolves” at
the end only, to indicate the fact that a “resolution” has been achieved.
In
all, Akira Kurosawa’s Rashomon is an enriching experience not only
because of its intriguing storyline, but the way the story has been told.
Editing plays an integral role in determining the perspectives, and hence is
crucial in conveying a sense of significance in the essential unfolding of the
proceedings. It’s the work of an auteur, who made choices not just as a
director, but as an editor, by placing himself in the audience’s shoes. Its all
about the “perspective” !!
