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Rashomon 1950
the acting is comically formalist in the first three tellings, save for the woodcutter's telling of the duel between the husband and tajomaru (that was probably the point, implying the first three were like a roided up version of reality) but the premise does well at displaying the impetuity of the 20th century view on feudal japanese culture (and it's absurdity) alongside a compelling investigation of the morality of man when not held to the crucible of truth - one's…
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