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Stacy Cambra

Mr. Mosher

Global Cinema Studies

November 6, 2022

Bang, Bang, Clash, Clash

Released in 1950 by director Akira Kurosawa, Rashomon is a Japanese cinematographic

film that explores differing narratives of the same event: a man's murder and a wife's rape.

Kurosawa's attention to camera angles and lighting as well as the use of plot devices such as

alternate points of view, combine to create a compelling tale that prompts watchers to reflect on

the values of justice, perspective, memory, and truth. An element vital to his effective

storytelling is sound, particularly in flashbacks.

As the authorities question each account of the event, flashbacks are used to 'back up' and

show the audience what is believed to have happened by the characters’ standards. Kurosawa

relies heavily on sound to do much of the storytelling when cutting back in time. Take a scene at

8:28. The clip begins with light, march music as the camera depicts Takashi Shimura, the

Woodcutter, trekking through the woods. When he encounters the dead body, the shot remains

focused on Shimura. Because the shot prevents the audience from actually viewing the samurai’s

dead body for themselves, Kurasawa uses an uproar in volume and pace of the background music

to communicate the conflict met. Another example of music communicating mood and plot

progression in the film is found 20 minutes in. Tajomaru is shown resting under a tree when he

first sees the samurai and his wife in passing. Enamored by Masako's beauty, the musical piece

shifts to a light, angelic arrangement. This, of course, portrays how Tajomaru views the

samurai's wife. In combination with camera shots, Kurosawa creates a compelling tale that

allows watchers to feel and see each character's perspective.

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Through the through, the music in Rashomon is extremely effective in communicating

the overall mood of each scene. The scenes analyzed above serve as examples of how Kurasawa

alters the soundtrack in accordance with what emotion/message he wants to convey. Increasing

both the volume and intensity, the movie begins to communicate a sense of urgency and

heightened stakes and shifting to gentle, soft arrangement creates a sense of love and captivation.

This is vital to Rashomon’s success; because dialogue and scenery are limited when a camera

angle focuses solely on one person, Kurosawa must use a change in tempo or volume to express

when the mood shifts or friction is afoot. Rashomon serves as an example of how director

Kurosawa trailblazed the way for effective storytelling through music.

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Works Cited

Rashomon. Directed by Akira Kurosawa, Daiei, 1950.