30-Rashomon. Director:Akira Kurosawa. Cast:Toshiro Mifune,Machiko Kyo,Masayuki Mori and Takashi Shimura.

"After Rashomon I made a film of Dostoevsky’s The Idiot (Hakuchi, 1951) for the Shochiku studios. This Idiot was ruinous. I clashed directly with the studio heads, and then when the reviews on the completed film came out, it was as if they were a mirror reflection of the studio’s attitude toward me. Without exception, they were scathing. On the heels of this disaster, Daiei rescinded its offer for me to do another film with them.

I arrived home depressed, with barely enough strength to slide open the door to the entry. Suddenly my wife came bounding out. “Congratulations!” I was unwittingly indignant: “For what?” “Rashomon has the Grand Prix.” Rashomon had won the Grand Prix at the Venice International Film Festival, and I was spared from having to eat cold rice.

Once again an angel had appeared out of nowhere. I did not even know that Rashomon had been submitted to the Venice Film Festival. The Japan representative to Italiafilm, Giuliana Stramigioli, had seen it and recommended it to Venice. It was like pouring water into the sleeping ears of the Japanese film industry.
Later Rashomon won the American Academy Award for Best Foreign Language Film. Japanese critics insisted that these two prizes were simply reflections of Westerners’ curiosity and taste for Oriental exoticism, which struck me then, and now, as terrible. Why is it that Japanese people have no confidence in the worth of Japan? Why do they elevate everything foreign and denigrate everything Japanese? Even the woodblock prints of Utamoro, Hokusai and Sharaku were not appreciated by Japanese until they were first discovered by the West. I don’t know how to explain this lack of discernment. I can only despair of the character of my own people."

-Akira Kurosawa-