Rashomon

The frame narrative of this 1950 Japanese film, set in the 8th century, takes place at the Rashomon, the great gate of the imperial city of Kyoto, which lies in ruins. A woodcutter, a Buddhist priest and a commoner have gathered at the gate to seek shelter from torrential rain, and to pass the time they discuss the trial of a crime that took place three days before.

           

The crime:  A samurai and his wife are assaulted by Tajomaru, a bandit. Tajomaru is put on trial.  His version of the episode and the wife's version of the episode are so different that a psychic is brought in to communicate by séance with the murdered samurai so he may present his testimony. He tells yet a different version.  Finally, a woodcutter who found the samurai’s body tells that he not only found the body but that he witnessed the incident as well and he too has a different version---four witnesses and four versions of the truth—each told from the individual’s point of view.

The ego needs of each witness has determined his or her version of the truth.  None of the parties to the episode intentionally lie.  Each person narrates the event as it is in his or her mind. This is why “the Truth” is so elusive and so ephemeral.  At the end of the film, whose narration should an audience member believe, The bandit?  The wife?  The samurai?  The woodcutter? There is no way to know and that is the movie's theme--the truth is unknowable.