At the time of Ben froze dumbfounded. Then he roared. Then again, again; Ryov is crepe and grew up almost without breakthrough. It sounded little to say a little amazement – there was horror in it, shock, free -eyed and flameless. (William Folkner. "Noise and rage")
The film "Rasomon" became a turning point in the grandiose creative path of the Japanese director Akira Kurosava. Considering that in his work, Kurosawa, although he borrowed the plot outline and atmosphere of the stories of his compatriot, writer-Modernist Ryunoske Akutagawa (these are the stories of the “Gate of Rasomon”, from where the name of the picture was taken, and “into the thicket”), “Rasomon” should not be considered an adaptation-this is an independent work of art, in which its independence was its independence, in which its independence was independent. achieved thanks to the genius and stubborn efforts of its creator.
Released on wide screens in the 1950s, Rasomon made Akir Kurosawa almost a cult figure in world cinema. Still! This man discovered Japan for the Western audience – all the more Kurosawa’s look was not “orthodoxy” Japanese (eastern), but had a somewhat strange admixture of the European point of view on the events taking place in human life, which made Kurosava so clear for the Western viewer, at the same time completely without violating the color of the eastern mentality, traditions and folk culture. Akira Kurosava is like a wanderer who always has a couple of other interesting stories with him, standing to tell others. It is worth paying attention to the fact that, despite the deafening success of Kurosawa abroad (which, subsequently, was reliably fixed, endowing the director with the status of Persona Grata), he was practically not taken seriously in his homeland, most likely because Kurosava was not interested in creating an original Japanese cinema, without a bit of European worldviews.
In 1951, at the Venice Film Festival, the painting “Rasomon” received two main prizes at once: “Golden Leo” and a prize of Italian film critics. Akira Kurosava personally deserved both awards. A year later, the film of the Japanese director received a prize of the American Academy "Oscar" for the best film in a foreign language; There are rumors that Rasomon was the first film in the history of Oscar, to whom such a reward was awarded.
Feelings are dangerous; They https://lucky-vip-casino.co.uk/withdrawal/ are anti -moral. The mind sets the spirit, initially absolutely free, morality (a certain state of mind, when he locks himself within himself, limiting his absolute freedom – that is, the spirit begins to know himself), thereby awakening disgust and fear of the manifestations of sensual character, manifestations of unconscious power as a symbol of infinite and total destruction, which knows nothing but eternal exhaustion, eternal saturation and eternal satisfaction. Reason is the constant creation of the spatio-temporal and causal paradigm of the surrounding reality, since it is guided by a desire, the essence of which is sacrificial, that is, the desire to get to the truth, while the very truth in itself (as a spirit), but to adhere to only a transgent position in relation to it, providing the truth only to a speculative, transcendental real being. Feelings, on the contrary, are opposed to any attempts to steel them in a chain; They do not know that there is a sacrifice, that there is an expired time and limited space – for feelings it is significant only here and now, which lasts throughout the eternity.
In Rasomonom, Akira Kurosava primarily raises the problem of cognitiveness as such, reducing his thoughts to the conclusion by no means an objective, but precisely subjective nature: it is most important not to know the truth as an object, but to survive it inside, as a state. The case is known when, during the filming of Kurosava, a group of employees asked to explain what the Rasomon script is-apparently, at that time of the development of the cinema, the script of this film was a thing too distracted-metaphysical for transferring it to the screen-and Kurosava replied that Rasmon was the last reflection of life, and the last reflection of life, and the last reflection of life, and the last reflection often has a very difficult and incomprehensible meaning; The director was not far from the truth.
Rasomon debunks the good myth of Immanuel Kant about the criticism of pure mind and exalt the subsequent idea of the great philosopher about the dominance of the practical mind, in which the spirit is “tempered”, in which he is set by morality, over the pure mind, supposedly representing the pure knowledge of the surrounding reality, without caustic impurities of empiricism and completely based on some transcendental laws of human being. It is worth saying that the benefit of a work of art, unlike a philosophical treatise, is that the contemplating consciousness does not put a framework for conclusions-differently, this is the liberty of the interpretation. And the events taking place in Rasomon, exactly like Rasomon himself, the viewer is free to interpret as you like, but Kurosava makes it clear that the mind, even clean, is only a healing tool, while the metaphysics of the event remains not so much closed as an unnecessary part, namely, the latter is important for the director and, subsequently, the viewer. "Rasomona".
The plot and plot of the film "Rasomon" are quite closed; This isolation is explained by the internal design of the film. Each of the characters (this is a lumberjack, a monk, a robber, wife, husband) retelling that event, a witness or participant of which he became. There is only one event, but it is powerful in itself and exhaustively, and makes a story that actually happened, as well as interpretations by its own; The director is completely optional to apply a hand to the narrative, the main thing is to constantly keep the viewer in his thicker.
The viewer, listening to the stories of eyewitnesses one after another, soon understands that the truth is not at all, but, most importantly, the most terrible secret of the movie is revealed-it does not show life, but, just like any other type of fine art, it distorts life, it is alienated, it is switched, according to Hegel, from the “for-Sty” to “B-Seba”. Kurosava speaks in direct text: in fact, the truth, the concept is so tall and pure, is not objective; it is not independent of a person and is not something unattainable and incomprehensible. If the truth is related to the empirical world, then only as a property, but not more (that is, as a “basis of things”), and in this case it is objective. In essence, the truth is a state of mind, when he abides in the so-called harmony with himself and with the environment into which he was immersed by some forces; In a state of truth, the spirit experiences a feeling similar to happiness – not a meaningless and dazzling surge of joy, but a completely measured sense of satisfaction (there is no reason for the emergence of doubts within the spirit, questions, like themselves) – so far this state of truth does not come to nullify. There are a great many motives for violation of this state, sometimes it can be assumed that the external being of the spirit only consists of such motives-every second one event replaces another, people commit some unimaginably terrible or disgusting acts, but to aware of the latter and attempts to understand that it pushes people to such anti-time antics, or it does not turn out to be at all at all.
The main places of action in the "Rasomon" should be clearly indicated. There are only two of them: this is the space of the subject and the space of the object. Memories, testimonies of witnesses, the speech of the characters denote the first space, while the second space designates the gates of Rasomon.
Place of action-1
Rasomon gate – a terrible place; In his story (“Rasomon’s Gate”), Akutagawa describes the gate as a forgotten, abandoned by people, once a beautiful place, which has now become a kingdom of a nightmare, horror, as well as a haven for stray tramps; What to say about the rodomon, dumped on the second floor of the gate, the coup of corpses, which already have no chance of becoming devoted land. “They say that the devil himself lived in this gate – these are the words of the tramp from the film – and he escaped, having seen enough of human meanness”.
But, whatever you were there, Rasomon’s gates, like a temple, collects inside themselves and living souls, looking for, eager, striving – after all, such is life. And, of course, you can refer to the downpour without unusual words, constantly huddling from heaven to earth, which leaves us no other choice, how to wait for him under the cogs of Rasomon-but could it happen differently? Can minds and souls, with zeal unless the insoluble mystery of the human spirit, meet each other in a different place, excellent from Rasomon? Of course, no. And rain is not a reason, but a touch to the amazing portrait of Rasomon’s gate, a place and a symbol at the same time, which he wrote and introduced us, the audience, Akira Kurosava.
It is a real – it is disgusting, dank, damp and it always reminds of the treacherous imperfection of the world, but, again speaking of the fundamental subjectivity of truth, we can boldly talk about the treacherous imperfection of the soul and spirit, although whether it is correct to talk about betrayal when the mind remains in the fools, it has seen itself in contradictions? But, with regard to the past, in particular, in the spatial sense, here it is bright and warm – it is the house of a judicial official, where the sun literally floods its wide courtyard, and the very place of the alleged crime, where the sun also lives on the surface of each leaf of forest thicket. And, probably, everything was supposed to be the other way around, and the moment of the crime must be painted in terrible, gloomy tones, while bold attempts to “get to the bottom of the truth” are covered with the rays of the day and pure sky.
Place of action-2
The main space of Rasomon is the space of the subject, it absorbs time (with it, and memory, and making it the property of more than one mind), making the latter closed and one. Kurosawa achieved such a metaphysical component of his work by reception, which today is known as “flashback” – a quick return.
A tramp, a monk and a lumberjack, waiting for the rain under the rotten boards of Rasomon, plunge during; The jumps from the past are currently rapid, lightning -fast, with the course of the narrative, they cease to be relevant, the existence of one event is reigned – a crime in the forest and the “investigation” of its reasons and secret intentions. Facts are known, and they do not contradict each other, there are even evidence and evidence, but the truth, literally a moment before she is seized, manages to slip away from the tenacious hands of the human mind. Here the writer’s words from the film "Stalker" come to mind: "… something that happens to her". The incomprehensibility of truth is not such, because the truth is not objective, it is more objective, which we have already talked about.
During the “investigation”, the terrible border between death and life is gradually erased, becoming at the end of a completely transparent and ethereal. To do this, it is worth recalling the episode in the house of the judicial official, when the killed samurai himself answers the judge, whose corpse was the first to discover the lumberjack. It is worth wondering: is it not absurd? The desire of the spirit for the state of truth almost always destroys the moral “threshold” – it does not matter who killed, why. The living can lie, but this is completely not necessary for the dead – since they are destined to "forever wander in the darkness". The objectivity of truth should be restored. But even the dead man finds the strength to lie in himself, barely feeling himself in the shell of living flesh. As you can see, the subject is really immortal. Its essence, nature is immortal.
Akira Kurosawa himself spoke of Rasomona, in the context of this part of my review, his words will be very useful, and, I think, they do not need to reinforce an third -party comment: “A person cannot speak about himself without embellishment, he cannot live without lies, which gives him the opportunity to seem better than he is actually. Selfishness is a sin that a person carries with him from birth. ".
"Rasomon" is nourished with a sense of hope – when the downpour will stop and the sky will become bright. Kurosawa makes an important emphasis on the subjective experience of objective phenomena, pulling through the entire film a certain feeling of the unreality of what is happening – so virtually the director is played with mounting gluing and temporal parameters of episodes. This proves the skill of the Creator and testifies to the achievement of the bar that Akira Kurosava set for himself: to make his work truly that the style and the idea contained “inside the work” does not go parallelly, but organically interwoven with each other, turning such images into something new, more developed and whole.
The “Rasomon” ends with the triumph of morality – the state of truth has been achieved, and not an illusory state, but quite real: the lumberjack justifies his act with good goals, the monk, in turn, showing respect for the efforts and troubles of the unfortunate person, again acquires, as he says, “faith in people” ”. The downpour stopped, the clouds scattered. The film ends.
When the obsessive thought of the stunning deceitfulness of the universe ceases to be obsessive, firmly strengthening in consciousness, you begin to think about whether you are a deceitful? And your whole personality is nothing more than a screen for the "collection of feelings"? That morality is, in fact, a fairy tale?