“We are all afraid of the truth.”
– Friedrich Nietzsche
“It’s human to lie. Most of the time we can’t even be honest with ourselves.”
Few movies explore the realms of human nature and morality as skillfully as Akira Kurosawa’s Rashomon. This cinematic masterpiece not only captivates with its storyline but also prompts us to tackle the intricacies of truth and the limitations of human perception. For the audience, Rashomon presents a tapestry of themes that strike a chord with our perpetual struggle between truth, humanity, and optimism.
At its essence Rashomon serves as a contemplation on the nature of truth. The movie offers conflicting perspectives on an event—a gruesome crime that unfolds in a forest. Each character’s retelling of the incident is uniquely colored by their biases, emotions, and aspirations. This narrative technique compels us to ponder the essence of truth itself. Does an objective reality exist? Is truth merely a product shaped by viewpoints? Kurosawa skillfully portrays how our perception of reality is fragile. In turn, we are influenced by each of the witnesses self-interests and psychological drives. It is interesting to note here as well that the confessions of each witness on trial is ultimately told through the point of view of the woodcutter. In each instance we must question, is the narrator reliable or not? We in turn must contemplate what truth is and if we can ever really grasp it. And secondarialy, if we even want to.
“Maybe goodness is just make-believe.”
This concept strongly echoes Friedrich Nietzsche’s ideas, particularly as discussed in his work On Truth and Lies in a Nonmoral Sense. Nietzsche suggests that truth is, like a moving army of metaphors, a concept crafted by people to make sense of the chaos in life. Nietzsche states, “If each us had a different kind of sense perception — if we could only perceive things now as a bird, now as a worm, now as a plant, or if one of us saw a stimulus as red, another as blue, while a third even heard the same stimulus as a sound — then no one would speak of such a regularity of nature, rather, nature would be grasped only as a creation which is subjective in the highest degree.” In the movie Rashomon the characters testimonies uncover more about their doubts, fears, and aspirations than the actual incidents. The film acts as a reflection, showcasing the sometimes-conflicting aspects of human nature. This is akin to Nietzsches idea that truth isn’t fixed but shaped by human interpretations. These interpretations are based on an individuals wants and needs.
Furthermore, Nietzsche questions language itself as a medium through which truth can be acquired, saying, “What is a word? It is the copy in sound of a nerve stimulus. But the further inference from the nerve stimulus to a cause outside of us is already the result of a false and unjustifiable application of the principle of sufficient reason. If truth alone had been the deciding factor in the genesis of language, and if the standpoint of certainty had been decisive for designations, then how could we still dare to say, “the stone is hard,” as if “hard” were something otherwise familiar to us, and not merely a totally subjective stimulation!”
“Not another sermon! I don’t mind a lie as long as it’s interesting.”
This question of language reminds me of Huxley’s The Doors of Perception when he states, “Every individual is at once the beneficiary and the victim of the linguistic tradition into which he has been born – the beneficiary inasmuch as language gives access to the accumulated records of other people’s experience, the victim in so far as it confirms him in the belief that reduced awareness is the only awareness and as it bedevils his sense of reality. So that he is all too apt to take his concepts for data, his words for actual things. That which, in the language of religion, is called “this world”, the universe of reduced awareness, expressed, and, as it were, petrified by language.”
Kurosawa also draws parallels with Søren Kierkegaard’s examination of truths in his writing Concluding Unscientific Postscript. Kierkegaard proposes that while objective truths like facts exist apart from encounters, subjective truths tied to morals with individual significance are closely linked with ones outlook on life. Through the conflicting testimonies, in the film, the narrative explores how each characters version of events is influenced by their wants, prejudices, and self perception. Kierkegaard emphasizes the importance of living truth rather than observing. This dichotomy is perfectly shown in Rashomon. Most of the film is this kind of false observing of the truth, whereas the living truth is portrayed by the very end of the film.
“I am the one who should be ashamed, I don’t understand my own soul.”
Rashomon delves into the landscape of humanity. Through its characters it exposes the sides of people—greed, deception, and self-preservation. Yet it also hints at a side of nature that seeks justice and understanding amidst disorder. For instance, the woodcutter offers perhaps the only ray of hope in the narrative. His decision to care for the abandoned baby signifies that in a world filled with deceit and moral uncertainty, acts of kindness and empathy can still shine through.
This balance between hope and despair connects with the conflict between truth and optimism. The priest in the film embodies this struggle as he questions his faith in humanity when faced with testimonies.
The woodcutters act of selflessness challenges his despair over peoples dishonesty offering a glimmer of hope for the presence of morality and goodness, in uncertain times.
“Thanks to you, I think I can keep my faith in mankind.”
Richard Rorty’s Consequences of Pragmatism presents a perspective by emphasizing the outcomes of our beliefs and actions rather than fixating on an unreachable objective truth. In Rashomon this perspective suggests that although the characters narratives may never align to reveal a truth, the significance lies in how these narratives influence our behaviors and connections. The woodcutters choice to care for the baby mirrors Rorty’s philosophy—finding guidance in the repercussions of our actions rather than in an absolute truth.
When asked if there was objective truth to the mystery of the grove and what happened to the characters. Kurosawa laughed and said, the husband Takehiro died, probably. Kurosawa’s Rashomon doesn’t offer solutions but prompts contemplation on complexities and the elusive nature of truth, perhaps a higher truth. The enduring impact of the film stems from its ability to mirror our struggles with comprehending reality and our role within it. It challenges us to acknowledge that while truth may be fragmented and subjective, striving for hope and moral righteousness through pragmatic action should remain the clear pursuit.
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Conclusion
When watching Rashomon think about the philosophical themes that elevate it as a timeless examination of human behavior and ethics. In a reality filled with varied truth perspectives, Kurosawa’s brilliant work serves as a reminder that understanding a truth may be elusive. But our ability to hold onto optimism and empathy can light our path through uncertainty. Ultimately, striving for hope is that higher truth within us all. Whether truth is subjective or objective may not be the important question. What is important, proposed by the ending of Rashomon, is finding hope in hopeless situations. This is what may truly define our humanity in the midst of all other truths and falsehoods.
Reading List
On Truth and Lies in a Nonmoral Sense by Friedrich Nietzsche
The Doors of Perception by Aldous Huxley
Concluding Unscientific Postscript by Søren Kierkegaard
Consequences of Pragmatism by Richard Rorty
