Tajōmaru honorably set the samurai free and dueled with him. Not affiliated with Harvard College. McDonald says the film conventionally uses light to symbolize "good" or "reason" and darkness to symbolize "bad" or "impulse".
For the servant it is a big leap for him to become a thief, but the woman seemed to understand that she had no other choices to begin with, so she mindlessly went about making her living. For example, the way Kurosawa uses his camera...takes this fascinating meditation on human nature closer to the style of silent film than almost anything made after the introduction of sound. This is more than twice the number in the usual film, and yet these shots never call attention to themselves". After some hesitation, he killed the samurai, and the woman subsequently fled.  Here, the film is seen as an allegory of the atomic bomb and Japanese defeat. These deceptions and lies shake the priest's faith in humanity. He draws his sword, approaches the old woman, and demands an explanation for why she is plucking hair out of a corpse. Back at Rashōmon (after the trial), the woodcutter states to the commoner that all three stories were falsehoods. harv. The Rashomon effect is named after the film. ", The Academy Film Archive preserved Rashomon in 2008.. Despite these reservations, the film was screened at the festival and won both the Italian Critics Award and the Golden Lion award—introducing western audiences, including western directors, more noticeably to both Kurosawa's films and techniques, such as shooting directly into the sun and using mirrors to reflect sunlight onto the actor's faces. He describes seeing the samurai tied up and Tajomaru begging for the wife's forgiveness after having attacked her, mingling threats with pleas for her hand in marriage and vows to renounce his life as a criminal. Although it won two Japanese awards and performed well at the domestic box office, most Japanese critics did not like the film. The court then hears the story of the deceased samurai (Masayuki Mori), told through a medium (Japanese: 巫女; miko, Noriko Honma).  Another allegorical interpretation of the film is mentioned briefly in a 1995 article, "Japan: An Ambivalent Nation, an Ambivalent Cinema" by David M.