"It's not as thougfh men are reasonable."
We have three contrasting narratives surrounding a rape and murder, confusing and philosophically troubling our two main narrators, stunned and downcast by their experiences as the rain splashes symbolically. The direction, this being Kurosawa, is excellent. Suspense, unease and uncertainty are constantly with us, somewhat but not quite akin to the grammar of a horror film in the cinematography, camera movements and, not to be underemphasised, the music.
All three narrative arise from trestimonies to unseen judges, and we see all from a judge's point of view, explicitly made to judge for ourselves. All contradict. All, bizarrely, confess openly to the killing. The rape is, well, not really treated by mediaeval society as something that matters, although the film sort of accepts its effect, although the treatment is extremelt troubling. In one, the husband hates his wife, rejects her and calls her a whore after the rape, making him no better than the rapist and a total piece of ****. The male narrators talk of women "leading them on" and display troubling attitudes- and most of the inconsistent narratives give a troubling account of the woman accepting her rapist and insisting on "manly" fighting to the death between the two men. This is, to say the least, uncomfortable.
Yet this can, I suppose, be seen as the attitudes of unreliable and misigynistic narrators. But perhaps I do the film too much credit. This is Japan in 1950, in turn recreating a mediaeval Japan.
I can't deny, though, that this extraordinary exploration of the sliupperiness of truth, of human dishonesty and self-deception rings very true today, as the deluded and incredibly stupid supporters of would-be tyrant Trump continue to lie and lie and lie.
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