From SOMETHING LIKE AN AUTOBIOGRAPHY by Akira Kurosawa, translated by Audie E. Bock, copyright © 1982 by Akira Kurosawa.

on  (Rashomon)

When I had finished SCANDAL for the Shochiku studios, Daiei asked if I wouldn't direct one more film for them. As I cast about for what to film, I suddenly remembered a script based on the short story "Yabu no naka" ("In a Grove") by Akutagawa Ryunosuke. It had been written by Hashimoto Shinobu, who had been studying under director Itami Mansaku. It was a very well-written piece, but not long enough to make into a feature film. This Hashimoto had visited my home, and I talked with him for hours. He seemed to have substance, and I took a liking to him. He later wrote the screenplays for IKIRU (1952) and SHICHININ NO SAMURAI (SEVEN SAMURAI, 1954) with me. The script I remembered was his Akutagawa adaptation called "Male-Female."

Probably my subconscious told me it was not right to have put that script aside; probably I was -- without being aware of it -- wondering all the while if I couldn't do something with it. At that moment the memory of it jumped out of one of those creases in my brain and told me to give it a chance. At the same time I recalled that "In a Grove" is made up of three stories, and realized that if I added one more, the whole would be just the right length for a feature film. Then I remembered the Akutagawa story "Rashomon." Like "In a Grove," it was set in the Heian period (794-1184). The film RASHOMON took shape in my mind.

Since the advent of the talkies in the 1930's, I felt, we had misplaced and forgotten what was so wonderful about the old silent movies. I was aware of the esthetic loss as a constant irritation. I sensed a need to go back to the origins of the motion picture to find this peculiar beauty again; I had to go back into the past.

In particular, I believed that there was something to be learned from the spirit of the French avant-garde films of the 1920's. Yet in Japan at this time we had no film library. I had to forage for old films, and try to remember the structure of those I had seen as a boy, ruminating over the esthetics that had made them special.

RASHOMON would be my testing ground, the place where I could apply the ideas and wishes growing out of my silent-film research. To provide the symbolic background atmosphere, I decided to use the Akutagawa "In a Grove" story, which goes into the depths of the human heart as if with a surgeon's scalpel, laying bare its dark complexities and bizarre twists. These strange impulses of the human heart would be expressed through the use of an elaborately fashioned play of light and shadow. In the film, people going astray in the thicket of their hearts would wander into a wider wilderness, so I moved the setting to a large forest. I selected the virgin forest of the mountains surrounding Nara, and the forest belonging to the Komyoji temple outside Kyoto.