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Hollywood was regarded as being in the first lane prior to the debut of seismic, also known as Reservoir Dogs, in the year 1992, which makes Quentin Tarantino's influence on western cinema easier to ignore. High concept, star-driven movies that were continually made available to the studios between the 1980s and 1990s were seen to be losing their shine. Without taking into account their audience, the independent cinema producers were really making movies for their friends and for themselves. A cinema journalist named Peter observed that, with the exception of ennui and old age, people rarely died in Sundance films until the premiere of "Reservoir Dogs." However, all this transformed upon the production of Reservoir Dogs, which is brash and bloody, hence it is a thriller which gripped the audiences. Quentin’s films are characterized by bloodshed and violence, offbeat, blaring soundtracks, a dialogue with startling presentation from the actors as well as the comprehensive range of orientation to other films. Nevertheless, the presence of Tarantino has given Hollywood a newfound respectability in the eyes of critics, fashioned the exploitation of the cinema and encouraged the intellectual kinds to reconsider the film of the American mainstream following the supremacy of the art house in three decades. This paper seeks to examine the Rashomon and its use of the Tarantino effect. The paper critically argued that Rashomon is an embodiment of the principles of Tarantino effect.
Quentin is certainly one of the main dominant directors of the American movies of the last quarter century. His films embody his writing styles that are loaded with several homage, lifts, as well as references to films, books which combine into a pop cultural galaxy. These references and influences stylistically aspects to form Tarantino's effects (Mazur 2). The word Rashomon is believed to have originated from one of the titles of the classic Japanese cinema known as Rashomon, where witnesses to the similar event contradict one another. Thus, Rashomon can be described as a 1950 Japanese film directed that was directed by Akira Kurosawa. The film is famous for a plot technique which involves various features providing alternative, convenient and opposing versions of the similar incident. Hence, Rashomon marked the entry of the Japanese movie into the international stage.
The film begins on a woodcutter and a priest sitting under the Rashomon city gate to wait while dry in a rainstorm. A commoner links with them, and they inform him that, they have seen disturbing story, that they immediately start recounting to him. The story that the two characters have is that they found the corpse of a killer samurai three days ago while in the forest searching for wood. Kurosawa's in this film Rashomon has applied Tarantino effect by incorporating aspects of bloodshed. For instance, the film shows the rape of women and murder of Samurai’s husband as given by different witness (Mazur 3). Symbolism runs extensive all through the movie, and a lot has been written on the theme. The film shows various crime acts committed by different people.
In using title Rashomon, Mazur suggests that a person has to examine events that lead up to the calamity at the Love Canal from the viewpoint of every actor before contending to recognize what happened (3). Thus, he separately explores accounts documented from the perspectives of various actors. Besides, the different aspects of events that lead up to the crisis infrequently contradict one other. Instead, the various actors place their focus on different parts of the narrative, interpret what is unfamiliar to their advantages, and in particular cases manipulates the facts only enough not to be absolute fraudulent. Rashomon famously toppled the carefully packaged motion of crime invented story by providing four different accounts with none of the versions embodying unpleasant crime; for instance, the slaughter of a samurai, and subsequent rape of his wife. Also, Gove, instead cautiously, is opening up double fronts here; first, the author of the film casts aspersions on documented version of the narrations, although also drawing a little condemnation of himself.
Rashomon applies Tarantino effect through various ways. First, Rashomon is dominated by events such as cigar-chewing, murder (Berg 5). The film has interesting ideas as well as a complex yet fascinating story. Furthermore, the film is fairly complex for its period and is the first movie to give similar narratives from multiple perspectives. For instance, when a criminal gets convicted for the vicious crime, then three men reproduce on the different narratives presented at the assessment and try to examine those who hold the truth. Thus, Rashomon remains to be the first genuine narrative that holds a narrative within a narrative, and creates what is known as Rashomon effect’ in which the audience is directed to see numerous versions of the similar event. This aspect makes the film to be inspiring (Berg 7). Overall, Rashomon is radical for the period and assisted in the setting up of motion in respect to new styles as well as approaches to the filmmaking within the West. Moreover, the film has cinematic techniques of re-telling the similar story from numerous perspectives.
The camera work in the movie was excellent as well as innovative, the Japanese aesthetic of production of the film was unidentified to the Western audiences, and its introduction permitted a lot of stylistically bold movies to be made. Additionally, the plot of the movie is instantly intriguing (Berg 9). This is recorded when four accounts of rape of women and murder are shown by witnesses. Kurosawa employs various techniques in the production of the film before his time, for instance, he uses puzzling open-ended, non-linear story. This inventiveness is unquestionably what has conserved the influence of this movie. Overall, Rashomon is one rare film which has transcended its status as cinema, influencing not merely the moving picture but the society as a whole.
Furthermore, the movie’s nonlinear narrative showed it as a determinedly modernist art, and as part and parcel of the growing world of art cinema. Rashomon is more than commercial entertainment; it is a movie of ideas with a sophisticated artistic design. Further, Rashomon is a modern film with excellent visual aspects (Berg 7). In Rashomon, the author sought to recover and reconstruct the aesthetic magnificence of silent filmmaking. Therefore, the cinematography and editing remain to be incredibly significance, and some passages contain quiet series of classic film, where the imagery art is explored.
In conclusion, the movies of Rashomon are the first movie which permitted the pessimism with a dimension which is originated on the nature of human. Obsessed by the tendency of human to lie as well as the trick, Rashomon movie is fashioned to account the duplicity, ego, and vanity of the actors, this is a clear depiction of the Quentin effects on the films.
Berg, Charles Ramirez. "A taxonomy of alternative plots in recent films: Classifying the" Tarantino effect."" Film Criticism 31.1/2 (2006): 5.
Mazur, Allan. A hazardous inquiry: the Rashomon Effect at Love Canal. Harvard University Press, 1998.
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