Introduction
There are many similarities in the themes of Shichinin, no samurai, and Rashomon. The trademark themes found in Akira Kurosawa’s work are honor and justice. These themes are particularly evident in Kurosawa’s 1954 film Shichinin no samurai and his 1950 film Rashomon. In both films, the characters must grapple with the consequences of their actions and choices. While the two films deal with similar themes, they approach them from different perspectives. Seven Samurai is more focused on the idea of honor and how the Samurai must maintain their honor even in the face of death. [1] On the other hand, Rashomon is more concerned with the idea of justice and how the different versions of events can obscure the truth.[2] Despite their different approaches, both films ultimately arrive at similar conclusions.
The individual is a central theme in “Seven Samurai,” as each of the seven Samurai has their motivations and reasons for joining the villagers in their fight against the bandits. Though they are united in purpose, each Samurai brings their skills and personality to the group, making them a more well-rounded and effective fighting force. In the end, the individual choices and sacrifices of the seven Samurai make the difference in the villagers’ victory. [3]The theme of the individual in Rashomon is that each person experiences and perceives the world differently. It is evident through the different accounts of the same event that the characters give. The film explores the idea that there is no one objective truth but rather that each person has their version of events based on their perspective. It seems as a commentary on the human condition and how we all see the world differently.
Rashomon explores the theme of individualism through the lens of four different characters. Each character has a different perspective on an event that transpired, and that character’s worldview shapes each perspective. The event in question is a murder, and the different characters’ accounts reveal their individual biases, values, and beliefs. The first character is the victim, a man killed during the event. His perspective is fear and confusion, as he is unsure what is happening or why. He is also the only character with no clear motive for his actions. The second character is the accused, a woman on trial for the murder. Her perspective is anger and frustration, as she has a feeling of being wrongfully accused. She is also the only character with a clear motive for her actions. The third character is the witness, a man who saw the event unfold. His perspective is disbelief, as he cannot understand how the accused could have committed the murder. He is also the only character with no clear motive for his actions. The fourth and final character is the detective, a man who is investigating the case. His perspective is skeptical, as he is unsure if the accused is telling the truth. He is also the only character with a clear motive for his actions. Each character has a different perspective on the event, and that character’s worldview shapes each perspective. The event itself is relatively simple, but the different characters’ accounts reveal a great deal about their values and beliefs.[4]
The theme of honor is central to Shichinin no Samurai. The Samurai is a highly honor-bound group whose code of honor dictates their every action. They are fiercely loyal to their lord and will do anything to protect his honor. The theme of honor is central in Shichinin no Samurai and manifests in several ways throughout the film. The most obvious instance is how the Samurai constantly tests and reaffirms their honor through acts of bravery and self-sacrifice. The theme of honor extends to the way Samurai deal with their relationships with each other and their social class. The theme of honor also serves as a way of commenting on the social order of Japan. The Samurai was a very proud and honorable class, but they were also a class that was in decline. The film suggests that, as the old order was breaking down, the values that the Samurai held so dear were also disappearing.
The theme of honor is first introduced in the opening scene when Shimura saves a little girl from being drowned by a bandit. Shimura is willing to risk his life for someone he doesn’t even know because it is an honorable thing to do. This bravery sets the tone for the rest of the film. The other Samurai are constantly called upon to put their own lives at risk for the sake of others. One of the most significant instances of this occurs near the film’s end when Kikuchiyo rushes into battle to save the life of his friend Katsushiro. Kikuchiyo is not a samurai but is willing to die to protect Katsushiro. This act of loyalty and self-sacrifice is one of the noblest acts in the film, and it cements the bond between the two men. The honor theme also manifests in how the samurai deal with their relationships. The most obvious example of this is in the way they treat their womenfolk. The Samurai protect their women and go to great lengths to keep them safe. It is clear when Shimura disguises himself as a woman to infiltrate the bandits’ hideout and later when he sends his wife away to safety before going into battle. The Samurai also has a very strict code of conduct when it comes to their relationships with each other. They are supposed to be loyal, trustworthy, and ready to put their lives on the line for their comrades. We see it throughout the film, but the scene where Kikuchiyo kills the bandit leader demonstrates it well. Kikuchiyo knows that his death would occur for this act, but he does it anyway because it is honorable.[5]
They should also expect to uphold the honor of their clan and families. Failure to do so would bring great shame upon them. Rashomon portrays the themes of justice and truth through the differing accounts of the murder. The first witness, the Samurai’sSamurai’s wife, presents the court with a different account. She claims that Tajmaru abandoned her after raping her. She begged her husband to be understanding, but all he did was give her a chilly stare. Then, once she had released him, she asked him to murder her so she could finally rest in peace. He kept on gazing at her with an evil glare.[6] The second witness, a woodcutter, says he saw the murder, and another man committed it. The third witness, the bandit, says he killed the man in self-defense.
Conclusion
While there are several similarities between the themes of Shichinin no samurai and Rashomon, there are also several notable differences. For one, the former’s setting is in a much earlier period than the latter, which gives it a more historical feel. Additionally, while Rashomon focuses primarily on the events leading up to and surrounding a crime, Shichinin no samurai is more concerned with the Samurai and their code of honor.
Bibliography
Harris, Michael William. “Hayasaka Fumio, Ronin composer: Analysis and commentary of five film scores.” Ph.D. diss., the University of Colorado at Boulder, 2013.
Karatsu, Rie. “Between Comedy and Kitsch: Kitano’s Zatoichi and Kurosawa’s Traditions of ‘Jidaigeki’Comedies.” Scope: An Online Journal of Film and TV Studies 6. 2006.
Kurosawa, Akira, and Donald Richie. Rashomon. Rutgers University Press, 1987.
Prince, V. P. “Adaptation Study and Postmodern Analysis of Rashomon.” JETIR 5, no. 12. 2018.
Rashomon. Directed by Akira Kurosawa. 1950. Los Angeles, California, United States: RKO Pictures, Film.
Shichinin no Samurai. Directed by Akira Kurosawa. 1954. Tokyo: Toho Co., Ltd., Columbia Pictures, Film.
[1]Shichinin, no Samurai. Directed by Akira Kurosawa. 1954. Tokyo: Toho Co., Ltd., Columbia Pictures, Film.
[2]Rashomon. Directed by Akira Kurosawa. 1950. Los Angeles, California, United States: RKO Pictures, Film.
[3] Karatsu, Rie. “Between Comedy and Kitsch: Kitano’s Zatoichi and Kurosawa’s Traditions of ‘Jidaigeki’Comedies.” Scope: An Online Journal of Film and TV Studies 6 (2006).
[4]Karatsu, Rie. “Between Comedy and Kitsch: Kitano’s Zatoichi and Kurosawa’s Traditions of ‘Jidaigeki’Comedies.” Scope: An Online Journal of Film and TV Studies 6. 2006.
[5] Harris, Michael William. “Hayasaka Fumio, Ronin composer: Analysis and commentary of five film scores.” Ph.D. diss., the University of Colorado at Boulder, 2013.
[6] Prince, V. P. “Adaptation Study and Postmodern Analysis of Rashomon.” JETIR 5, no. 12 (2018).
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