Even today, its success remains something of an oddity, a film that posits how no objective truth exists in the real world.
Even further, sprung from Shinobu Hashimoto, a screenwriter versed in primarily original stories.
More than one of the testimonies, if not all, including the woodcutters, must be false.
They cannot all be true given the opposing possibilities of the samurai’s death, the missing dagger, and a number of other loose ends.
He claims to have seen the bandit pleading with the woman to run away with him after the rape.
In the woodcutter’s version, the wife responds with indecision, and then demands that the two men duel for her hand.
Not even the accusation of murder remains consistent.
The bandit claims he tricked the samurai and tied him up, raped the wife in front of her husband, and then by the wife’s request to have her honor preserved, dueled the husband and emerged victorious.
, Akira Kurosawa’s philosophical tale whose enduring influence can be measured both by the spread of Japanese cinema across the globe and its impact on modern storytelling.
Expounded through an unconventional structure in which the same events have contradictory interpretations by its participants, the film takes the shape of an existential puzzle without an answer, employing unreliable narrators and flashbacks through which memory and truth become suspect.