The story told by Rashomon is both surprisingly simple and deceptively complex. Many different conclusions can be made when first examining this story but one must realize that things are not always what they seem. Akira Kurosawa's "Rashomon" is a good example of a story that is not what it first appears to be. In the story various witnesses provide completely contradictory accounts of an event. The film does not indicate which recollection is correct; each account in turn is depicted equally realistically. The story unfolds in different and exiting ways that gives us interesting arguments on the nature of truth and reality. Akira Kurosawa's Rashomon tells the story of a murder. It flashes back to the murder four times and the story of the murder is told by a different character each time. The present-time section of the plot occurs at a gate under which some characters take shelter from the rain. Three men can be found there - a woodcutter who repeatedly proclaims his misunderstanding, a priest who says that what has occurred is worse than anything else, and a third man who runs in from the rain for shelter and merely seems interested in a good story, as long as it's not a "sermon" from the priest. At the prompting of the third man, the woodcutter tells the story - providing the interesting story device of stories (the murder from 4 perspectives) within a story (the trial) within a story (the men at the gate). The tale he tells revolves around a bandit, Tajomaru, who has attacked a couple wandering through the woods, tying the husband up and forcing himself on the wife. The woodcutter found the husband dead in the forest, but what actually happened between these people is inconclusive. Tajomaru, the wife, the husband (through a medium), and the woodcutter all present different and irreconcilable versions of the events in question to the authorities. The first version, as told by Tajomaru, portrays him in a brave light.