In his review of Akira Kurosawa's Rashomon (1950), James Berardinelli writes at length about Machiko Kyo's portrayal of the raped woman:
"The most striking portrayal belongs to the radiant Machiko Kyo, whose mesmerizing, seductive character varies the most from narrative to narrative. She can be wholesome, treacherous, sexy, sympathetic, or vicious. Depending on who's painting her portrait, she is a victim, a manipulator, an innocent, or a vixen. At times, she's 'like a child trying to be serious'; at others, she's 'fierce.' As good as Mifune and Mori are, they are constantly upstaged by Kyo. In casting her, an unknown at the time, Kurosawa knew what he was doing."
This week, please react to Berardinelli's conclusions about Kyo's portrayal. You might agree with the critic, disagree with him, or offer further assessments (e.g., perhaps you think Mifune's or Mori's performances stand out more than Kyo's, perhaps you think Kyo's wife comes across as something other than victim, vixen, etc.). But however you respond, be sure to provide specific evidence from the film to support your answer.
