Subjective Truth and the Elusiveness of Reality: A Comparative Analysis of Rashomon and The Last Duel
The art of cinema has long provided a platform for filmmakers to explore human nature, morality, and the complex interplay of perspective and truth. Two films that masterfully delve into these themes are Akira Kurosawa’s Rashomon (1950) and Ridley Scott’s The Last Duel (2021). Though these films are separated by over seventy years and distinct cultural contexts, they share a similar narrative structure and thematic focus: the concept of subjective truth. Both films present multiple, conflicting accounts of a single event, forcing viewers to confront the elusive nature of reality. However, despite their similarities in storytelling, the historical settings, cultural nuances, and ultimate messages of these films differ, offering unique reflections on human behavior and social constructs.
At the heart of Rashomon and The Last Duel is a crime—specifically a violent assault—that is recounted from different perspectives, each offering a partial, self-serving version of the truth. Rashomon, set in feudal Japan, tells the story of the rape of a woman and the murder of her husband through the testimonies of four characters: the bandit, the woman, the murdered husband (via a medium), and a woodcutter who witnessed the crime. Each character’s account differs significantly, raising the question of whether any single version represents objective truth. Similarly, The Last Duel, set in 14th-century France, revolves around a rape accusation, which culminates in a judicial duel between the woman’s husband and the accused. The narrative unfolds in a tripartite structure, with the perspectives of the husband, the accused man, and the woman herself shaping the viewers’ understanding of the incident.
One of the most striking parallels between the two films is how they reveal the subjectivity of human memory and perception. Both Rashomon and The Last Duel suggest that individuals perceive and interpret events based on their own biases, desires, and self-interest. In Rashomon, the bandit sees himself as a valiant warrior, the woman casts herself as a victim yet subtly manipulative, and the deceased husband even describes his own death in a way that preserves his honor. The woodcutter’s account, though positioned as a more neutral narrative, is also compromised by his hidden motives. Similarly, in The Last Duel, each character shapes the story to align with their social position and sense of identity: the husband views himself as a noble and wronged man, the accused as a charming seducer, and the woman as a victim seeking justice in a society stacked against her. Both films ask viewers to question not only the nature of truth but also how power dynamics and personal agency affect storytelling.
Yet, while both films explore subjective truth, they diverge in their cultural and historical treatment of justice, gender, and power. Rashomon is steeped in Japanese philosophy, particularly the idea that truth is ultimately unknowable and that the human condition is marked by uncertainty and self-deception. The film’s setting—a decaying gate and a forest—serves as a metaphor for the crumbling moral fabric of society, with characters unable to offer clear answers to the unfolding tragedy. The ambiguity at the heart of Rashomon reflects Kurosawa’s exploration of existential themes, where there may be no absolute truth, only fragments of perception. On the other hand, The Last Duel deals more directly with institutional power structures and gender dynamics. The film critiques the patriarchal system of medieval France, where women were viewed as property and where honor and reputation dictated legal proceedings. The duel itself becomes a stark symbol of the violence and injustice women face, with the woman’s truth only acknowledged through the spectacle of male violence. Ridley Scott’s film, therefore, carries a clearer message about gender and justice, positioning the woman’s story as the most credible and calling attention to historical inequities.
Another important difference between the two films is their resolution. In Rashomon, the conclusion is deliberately ambiguous. No definitive truth emerges, and the viewer is left to grapple with the idea that no version of the story can be trusted completely. Kurosawa’s decision to end the film with an unresolved mystery reinforces the notion that truth is elusive and that human nature is fundamentally flawed. In contrast, The Last Duel presents a clearer outcome, with the duel itself determining who is “right” in the eyes of the law. However, even here, the film’s final section subtly underscores that the legal system’s judgment is far from infallible, and the audience is encouraged to recognize the deeper injustices that persist, particularly toward women, despite the appearance of justice. The duel might resolve the conflict in terms of plot, but it leaves viewers with lingering questions about the societal forces at play.
Cinematically, both films employ innovative narrative techniques to reinforce their themes. Rashomon pioneered the use of a non-linear, multi-perspective structure, which became a significant influence in world cinema. Kurosawa’s choice to repeat the same event from different angles, with varying tones and visual styles, underscores the mutability of truth. In The Last Duel, Scott takes a similar approach, dividing the narrative into chapters that correspond to each character’s perspective, with slight changes in dialogue and acting to reflect how the characters perceive themselves and each other. This mirroring of narrative structure is a testament to the enduring influence of Kurosawa’s film on modern filmmakers.
Despite their differing cultural contexts and conclusions, both Rashomon and The Last Duel offer profound insights into the human psyche and the complexities of truth. Kurosawa’s film offers a more philosophical meditation on the impossibility of ever fully knowing the truth, while Scott’s film, though similarly layered, provides a more pointed critique of gender inequality and societal structures. Both films leave audiences questioning not only what happened in the story but also the broader implications of how we understand truth in our own lives. Ultimately, Rashomon and The Last Duel reflect the timeless human struggle to reconcile subjective experience with objective reality, highlighting how deeply our perspectives shape the world we inhabit.