Thanks to Rashomon-like storytelling, we learn that Nameless' version of events could be colored by hidden motives. The King posits his own version of events, and chooses to implicate Nameless as a possible conspirator to his assassination. That version is in turn refuted by another version of the tale, and so on and so forth, with numerous flashbacks and supposed versions of the events represented through the glorious cinematography of Christopher Doyle. Different versions of the events are highlighted by specific color tones; red designates a more passionate accounting, while blue highlights a version colored by personal loss and sadness. Green, white and yellow come into play too, though to assign meanings and motifs to each and every color scheme would border on presumptuous and didactic. If anything, the different colors work as an effective narrative device that separates the various versions of the tale.
