Strass, Harold. “Glimpsed Behind the Japanese Screen Scene: Renaissance of Industry Due to Blend Of Commercial and Esthetic Values.” New York Times 2 Jan. 1955: X5.

This article appeared in the New York Times newspaper on Sunday, January 2, 1955. The author, Harold Strauss, is cited underneath the headline as having traveled in Japan and studied its culture. He mentions the then recent advent of Japanese film in the global critical eye. He then gives a brief history of film in Japan, beginning with its introduction in 1910. Notably, he describes the unique Japanese cinematic style as well as the production difference of about ninety percent commercial films to the ten percent art-house. However, this disparity, as he goes on to illuminate, is smaller than in most Western countries. The Japanese audience demands quality, even in the clearly commercial films, and critical recognition especially will influence the audience’s attendance. Kurosawa’s Rashomon was at first a failure in the Japanese box office until the film and its director received praise abroad. He then goes on to describe the five categories of commercial cinema in Japan as well as the different styles found and then compares them to genres in Western cinema. Kurosawa is again mentioned particularly as blending many genres in his films. In Rashomon, the Kabuki style is attributed to the forest scenes and the Noh style to the court scenes. Returning back to a historical, production aspect, Strauss goes on the relate how increased opulence occurred as a result of the country’s involvement in the Korean war. New talent was drawn into Japan, in both actors and directing. After the end of the occupation in 1952, these new players enjoyed an influx of free artistic expression, now with the means.

This article provides a key insight into Rashomon’s reception in the years immediately after its release, both within in home country and abroad. It also explicates specifics as to the styles and characteristics of Rashomon and Kurosawa, its director. Finally, it places the film and its director in the context of both Japan, in a cultural and artistic cinematic sense, as well as in the larger, global cinematic community.