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An analysis of several scenes will illustrate these points. Ozu’s Tokyo Story tells the journey of an elderly couple to the city of Tokyo where they reunite with their children and grandchildren. Their children, however, don’t have the time to spend with them. A few days later, the elderly couple goes back home. The mother falls ill and eventually dies. After the funeral, the children return to Tokyo leaving their father alone. Kurosawa’s Rashomon, meanwhile, recounts the stories of four different persons about a murder that transpired in the woods. A wife is allegedly raped by a bandit while her husband is murdered. In a dilapidated house that bears the name Rashomon, a priest and a woodcutter relay the story to a commoner. All four stories mutually contradict one another. In the end, an abandoned baby is found at the dilapidated house. 2. Themes Ozu explores the consequences of generational gap in families. Children, once grown, will live their own lives and leave their parents behind. Parents, on the other hand, will wish that their children achieve success and live happy lives. As time passes by, parents and children grow emotionally apart. The once warm and caring relationships become cold and neglectful. Neither parents nor children are to be blamed in this situation. it’s just the way things are. … Kurosawa, meanwhile, explores the subjective nature of reality and the human tendency to embellish one’s positive characteristics and conceal those that are unattractive. Reality, as the film portrays, is a matter of interpretation. One event can be viewed and looked at from different perspectives creating a myriad of meanings out of it. The ultimate and absolute truth of something, therefore, can never be realized. This applies to human beings as well. People choose to believe what they please. Their perception is always influenced by motives both good and bad. 3. Stylistic Analysis Mise-en-scene. This refers to the composition of a scene which include the setting, lighting, costumes, and actor’s gestures, to name a few. Ozu’s mise-en-scene is constructed with utmost control and filled with telling details. The teapots, cups, or slippers are all there for a reason. Each tells a story of its own (eg. slippers lying at the elderly couple’s door at the spa). In Rashomon, the mise-en-scene gives emphasis on nature. Most of the time, the actors are shot beneath the shadows of trees and leaves revealing both their good and bad nature. The sometimes hysterical and animalistic acting of the wife and bandit show how strongly they held to their perception of the event. It seems like they’re trying hard to conceal their bad nature. Cinematography. This refers to the distance and movement of the camera, and the framing and duration of shots. Ozu often utilizes long and medium shots which show entire landscapes, actors in full body or waist up, and the space/background where the actors move around. Close-ups which emphasize facial features and emotions are never used. The camera moves only once