In A Grove And Rashomon Essay

The chief debate that underlies the whole film, and this whole dispute of rationality versus impulsiveness, is simply the question of mans inherent goodness or evil.

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The presence of the rain provides an excellent excuse for the story to be told.

In these first dark and rainy scenes, Kurosawa paints a bleak picture of the world.

His position is most like that of the viewer in this first scene.

He is perplexed by the bewilderment of the priest and woodcutter, and wants to know more.

As Bosley Crowther remarked in his review for The New York Times, "Rashomonisan artistic achievement of such distinct and exotic character that it is difficult to estimate it alongside conventional story films.[I]t isnt a picture of the sort that were accustomed to at all" In this essay, I will examine the film with particular interest in the aspects of lighting and the dichotomy of light and dark that brings so much meaning to the film.

The goal of this essay, then, is to prove that the lighting in this film is essential to its theme, and to illustrate the subtle ways in which the profound message of the relativity of the truth, central to the thematic landscape of the film, is reinforced visually.

Rationality is equated with good for obvious reasons; when we act rationally, we do the best thing.

The same relationship exists between evil and impulse.

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