Les sept samouraïs

Having seen Kurosawa's Seven Samurai at least 10 times, I still see something new every time I watch it. I don't see how anyone, especially a non-Japanese, could possibly absorb this movie in less than 2 or 3 viewings. I've always been surprised at how each of the 7 samurai can make such an individual impression on you even if you can't understand Japanese. Although Toshiro Mifune is often considered the star, for me its Takashi Shimura who is firmly fixed at the center of the movie. He is the guiding moral force from the moment of his appearance in the film and can capture the viewer's attention in a way similar to Alec Guinness. Mifune's character can be annoying at first in his loutish behavior, but he gains stature throughout the film and eventually becomes a unifying force second only to Shimura. Minoru Chiaki as the woodcutting samurai provides a subtle humor and the others look to him to boost their morale. Daisuke Kato is another very familiar face to Japanese movie fans and provides an excellent foil to Shimura as his second in command. Yoshio Inaba is very good as the samurai who is recruited by Shimura and quickly builds a strong rapport with him. Seiji Miyaguchi as the "expert" warrior, dedicated to honing his skill as a swordsman is a very low key yet likeable character. Ko Kimura as the young hero-worshipping samurai, as well as the love interest of the peasant girl, wishes to be a great samurai, but is easily distracted by a field of flowers or a pretty face. The peasants in the village being defended by the samurai each have their own defining characteristics as well.

In addition to the wealth of interesting characters, we have a terrific action plot--the defending of the village from 40 marauding bandits by the small troop of samurai--, and a more subtle secondary plot involving the distrust of the samurai by the villagers due to the historical interaction of these two classes in feudal Japan. All of these plot and character elements are woven together into an unforgettable epic, but, at least in my opinion, its not one that can be absorbed in a single sitting. While it's similar in this sense to another of my favorite epics, Leone's Once Upon a Time in the West, it is more complex given the number of characters.

I can only say that your patience with this film will probably be well rewarded if you take the time to give it multiple viewings. You will also have the pleasure of seeing many of the samurai and villagers pop up in other Kurosawa films and films of other Japanese directors. If you like Mifune and Shimura in this one, catch them in Stray Dog and Drunken Angel in very different settings and parts.

This one is 10 out of 10 without a doubt.

Story-telling at its finest, "Seven Samurai" is a terrific film not because of a handful of memorable scenes or lines, but rather because scene-by-scene, frame-by-frame, it tells an interesting story as well as it is possible to tell it. The story and characters are developed carefully, and everything about the movie, from the settings and props to the musical score, is done carefully and expertly.

Mifune grabs the attention in most of his scenes, and Shimura's more restrained character is a nice balance. Those two have the best parts, but all seven of the samurai are memorable characters. The sequence of events that collects the seven together occupies the first part of the movie, and forms a perfect foundation for the rest. A few of the villagers are also portrayed nicely, although they are naturally overshadowed when the samurai are around.

The story always moves along nicely, with many ups and downs. It has enough unpredictability to keep you interested the whole time, without ever losing its credibility. There is plenty of action, but there is also substance behind the action to give it more significance. The only possible drawback is the long running time (you can always split it up into two installments, but it's more satisfying if you can watch the whole story through at once), but there is little that you could cut out, even if you wanted to. It holds your attention the entire time with a good story and great technique, not by resorting to sensational or sordid details.

This movie well deserves its reputation for excellence, and is one that everyone who appreciates classic cinema will want to see and enjoy.

Though its biblical connotation is not the happiest one ("Seven Deadly Sins") number seven, omnipresent in our (7 days a) weekly cycles, seems to have been a lucky number in the world of cinema. Several very solid and some great movies have this number in their title, starting with gag-wise incredibly inventive Seven Chances (1925) from genius of silent era Buster Keaton, Frank Borzage's silent version of classic melodrama 7th Heaven (1927), Walt Disney's first feature-length animated movie, Snowhite and Seven Dwarfs (1940), recognized as an instant classic and remained so ever after, Stanley Donen's ear-pleasing, eye-riveting musical Seven Brides for Seven Brothers (1954), staged in western milieu, with the breathtaking barn-raising dance sequence, Ingmar Bergman's literally Death-defying, answers-to-reasons-for-human-misfortune-seeking masterpiece, Det sjunde inseglet ("The Seventh Seal") (1957), Billy Wilder's Seven Year Itch (1957), a clever and amusing first collaboration with incomparable Marilyn Monroe (a worm-up for their second, bigger if not decisive step in taboos-of-the-motion-picture-production-code-breaking, brilliant comedy Some Like It Hot (1959)), up to newer examples like David Fincher's disturbing drama Se7en (1995), one of the finest Hollywood movies of the 90's, as well as Tsui Hark's Chat Gim ("Seven Swords") (2005), a stunner in the department of action sequences from the often under-appreciated genre Wuxia, originating from Chinese literature.

However, even among such illustrious examples of movie-making par excellence, one movie holds a special place, Shichinin no samurai ("Seven Samurai") (1954) from the legendary Japanese director Akira Kurosawa. This movie doesn't seem to lack anything that an avid movie consumer, in particular samurai genre admirer, might be wishing for.

It is not easy to say anything new about the one of the most analyzed and scrutinized movies of the film history. Nevertheless, and despite being eventually only repeated, it shall be mentioned that movie has a simple but very engaging story - a group of peasants, representing a village, periodically stormed by gang of bandits, looting their crops and other possessions, hires several wandering ronins (masterless samurai) to help them protect the village - not without lucid observations on the possibility of social interaction between members of different classes during the almost seven centuries long feudal history (1185-1868) of Japan.

Characterization is excellent, and though having clear stand-outs in samurai's true leader, Kambei (Takashi Shimura), a wise tactician of the exceptional valor, as well as in the exuberantly uncontrollable Kikuchiyo (Toshiro Mifune), messy in its appearance and blustering in its manner, yet, a peasant descendant himself, making for a perfect link between the samurai and their employers, all other samurai are memorable, as well, sporting wide variety of personality traits. In joining the village protection operation, hired for nothing more than a regular meal for as long as providing a service, thus primarily hoping to finally fill their starving stomachs, each one of them was driven by different additional motives, whether they were challenged to test their bravery, fighting skills and tactics, seeking for excitement and recognition, trying to regain pride and glory of the past days, just reaching out for that human touch (cross-class communication, even mere courtship promising relationship) they have been deprived of, or simply interested in the noble cause of the ensuing campaign.

Together with true highlights in realistically choreographed battle scenes, showing all the pain and misery of excessive violence on the reverse of heroism, that even defenders cannot avoid resorting to, sadly announcing inevitable decline of the samurai and their ways exposed to new artless technology, unbecomingly dying ambushed by distant shots from the muskets, while ingloriously stuck in the village muds... it all makes for a compelling narrative.

[...Skip the paragraph due to possible s-p-o-i-l-e-r-s, if you care...] Though triumphant in their common task to protect the village, unlikely alliance between samurai and peasants is ultimately doomed to fail. In the short run, it gives expected results, but in the long run, does not stand the chance. That is so loudly, although in fact silently, expressed at the end, when peasants don't even care to join the surviving samurai in their mourning over the fallen ones, not even giving the last well deserved respect to those who have helped them withstand fierce attacks, prevail and ultimately defeat bandits, and, in doing so, most of them given their lives. Peasants simply continue with their daily chores, while surviving samurai have to leave the village, like they have never existed, sadly symbolizing their ultimate destiny: slowly but surely stepping off the future pages of the history books.

Seven Samurai, the movie, is rightfully considered as the one that has redefined samurai film in its contemporary perception, and dawned almost two decades long string of successes, instantly becoming the brightest example of thus revived, uniquely provocative and entertaining sub-genre, unknown as such in the country of its origin, classified there within a broader genre, jidaigeki (a period drama, often describing events from pre-modern era of the Edo period, marking the governance of Tokugawa shogunate (1603-1868), relatively peaceful times for Japan's long history of civil wars, as opposed to gendaigeki, films treating contemporary matters), and by IMDb standards, as an action drama, occasionally historical, when based on real events.

Originating in the Edo-era Far East, it has inspired equally successful, star-studded (Y. Brynner, S. McQueen, C. Bronson, J. Coburn, E. Wallach, R. Vaughn, H. Buchholz, B. Dexter) Hollywood remake, The Magnificent Seven (1960), conveniently situated in the U. S. West of 19th century, as well as three lesser sequels, Return of the Seven (1966), Guns of the Magnificent Seven (1969), and The Magnificent Seven Ride! (1972).

In 1954, Kurosawa made foreign film history with Seven Samurai. Everything about this film is just absolutely terrific. The film lasts around 3 1/2 hours, and every minute of it is unbelievable filmmaking. Kurosawa's blend of stellar craft, captivating cinematography, ravishing art direction, and unforgettable characters makes this one of the most intelligent films ever made. The first hour is devoted to devoloping the many four-dimensional characters which inhabit the film throughout. When watching the film, the audiece cares for, trusts, mourns and ultimately believes every single attribute the characters have. Samurai set up the way that many action films are made today; films like Predator and Alien still work within it's boundaries. The battle scenes are terrific and the fast-paced editing is ground-breaking. If people have a problem with subtitles and long movies, then see this and your opinions will change. The sheer filmmaking of Kurosawa will not disappoint. Also see Yojimbo and High & Low.

This is my favorite Kurosawa film, the man was a true master of the cinematic arts. If you have never seen a Kurosawa film definetly make this your first. Though extremely long at about 3 1/2 hours it is well worth the time spent.

To quickly summarize, a poor Japanese village hires 7 Samurai to protect it from being raided by bandits. Don't get me wrong there is way more to it than that, I just dont want to give anything away. This is an intense and emotional movie that hooks you from the first scene and keeps you on the line till it is all over. The battle scene at the end is in true Kurosawa form. The acting is outstanding by everyone involved from the main characters all the way down to the very last extra. Of course the best way to see any film, especially a Kurosawa film is on the big screen if you are able to. Beautifully filmed, in black and white, anyone familiar with Kurosawa's work has to wonder visually how much more gorgeous it could have been had Kurosawa had the option of color in 1954.

The camera use is brilliant and every scene is balanced visually. This film is also the first one to use "the wipe" as a way of changing from one scene to another. This technique was later used by George Lucas in his Star Wars movies. I would also recommend the DVD version that has the commentary option by the Japanese cinema expert if anyone is interested in a deeper understanding of the "hows" and "whys" of Kurosawa's film making. Any man, woman, boy or girl who just wants to see a really, really great movie, THIS IS THE ONE! An A+++ in my book.