SEVEN SAMURAI (1954)
Episode 4 of THE MANDALORIAN entitled "Sanctuary" is an inventive retelling of SEVEN SAMURAI (1954). Here is a classic film review of this Akira Kurasawa classic written by Phil Congleton...
Famed Japanese film-maker Akira Kurosawa has many films, but usually, which film is the first one that you think of when you hear his name? It’s the Seven Samurai and most subscribers to the film-world pick this film as the greatest film to ever come out of Japan and usually this one appears on all ‘best lists” that you can find.
Run Time: 207 mins
Genre: Drama, Action, Japanese
Format: Standard 4:3 Format, Black & White, Subtitled
Director: Akira Kurosawa
Starring: Toshirô Mifune, Takashi Shimura, Keiko Tsushima and Yukiko Shimazaki
In the year 1586 a Japanese village is constantly attacked by bandits, who plague the inhabitants' village and take whatever they want from the terrified villagers. One day after an attack by the bandits the villagers seek the wisdom of an elder, who tells them even though they cannot afford weapons, they can find men with weapons, samurai, who will fight for them, especially if they find samurai who are down on their luck and wondering where their next meal will come from. They find a very experienced samurai with a good heart who agrees to recruit the rest of the team of samurais for them. He selects five genuine samurai and one who might not be. The seven return to the village to protect it from the forty plus bandits and the battle lines are drawn.
This film is mesmerizing. It's like reading a great novel and with each turn of the page another mesmerizing one opens up. It is epic in its design and has many interesting, likeable characters. This film moves along like a beautiful Japanese melody. Sure, the length is almost four hours long, but it is a nicely paced film and moves along quickly. I mean if you want a film to feel like an epic novel and an excellent read, what better way to do it, but with a Japanese film masterpiece, subtitled in English that moves along like a fine song.
The leader of the group, Shimada, played by Takashi Shimura, is the perfect choice for this role. His ability to express a kind-hearted elder persona and combine it with the ferocity of a Ronin is impeccable. Shimura was one of the biggest actors in Japan at the time. He appears in numerous films in the 1950s and 60s. Among some of the legendary great films he did were, Rashomon (1950), Ikuru (1952) and The Hidden Fortress (1958), just to name a few. He also took part in a little film, near to my heart, called Gojira (1954). Shimura would become a huge part of special effects master, Eiji Tsuburaya’s Godzilla universe (if you will), and appear in at least seven of Toho Studio’s science fiction monster classics from 1955-1965, ever enshrining him to International fame and a respect from film fans all over the world. His character, Shimada, from the Seven Samurai is the rock that holds everything else together and his facial expressions are amazing. He can show you fear and concern and in the next scene express happiness and joy. His signature rubbing of his head when he needs to think or when his emotions are about to change is one of the best parts of the movie, because, with you, half the time, he too isn’t sure what to make of the villagers and the other six samurai. It is one of the best ways I have seen in a film to show what is going on in someone’s mind without uttering a single word.
As with many of the classic Japanese films of this era, much of the rest of the cast is less notable. You probably recognize the faces from various other films and may know a little bit about them depending on your knowledge, but do not be fooled by this. The acting and execution of the scenes is as perfect as can be and even though they are not huge stars, their impact on this film is tantamount to the finished piece. Of course, Kurasawa would hire a lot of extras to be the villagers, so much so, that he hired real villagers to make things even more believable. One of the three villagers that come to enlist the samurai is played by an actor named, Yoshio Tsuchiya. In my estimation, out of all the other secondary characters in the film, Yoshio Tsuchiya is one actor who Americans might recognize. For he too, like Takashi Shimura, would join with Eiji Tsuburaya and appear in over ten of the Japanese science fiction monster films of the 50s, 60s and 70s that were produced by Toho Studios. He is the main character in Godzilla Raids Again (1955) and returned eventually in 1991 for Godzilla vs. King Ghidorah (1991).
There is another name in the cast that does stand out, even more so than Takashi Shimura. This man would gain even a larger piece of the international stardom pie, for he would go on and appear in many great films in Japan and around the world. A guy named Toshiro Mifune. Mifune would end up doing over 160 feature films in his career, most notably in the United States in the film Midway (1976) as Admiral Isoroku Yamamoto, even though his voice had to be dubbed by a guy named Paul Frees. It was not a problem. His facial expressions are all you need. He also appeared in the 1980 NBC Television mini-series with Richard Chamberlain called Shogun. In the Seven Samurai, Mifune plays Kikuchiyo. Kikuchiyo is a complex character and if it wasn’t for Mifune and Kurosawa’s masterful ability to tell stories without losing the audience this character would be tough to sell. He is the one who provides most of the comedic-relief in the film. His character is the one that helps draw the contrast between samurai and peasant. His character can do what any of the other samurai’s can, even though he is nuts and drunk half the time. His character is the one that produces the most mystery and the most resolve.
Akira Kurosawa was one of the pioneering directors of classic cinema, who helped build the modern day action film. If it wasn’t for him we might not have the major blockbuster action movies that we see today. True, the lessons learned from Kurosawa seem to be lost on today’s emotionless and plastic action films, but the influence is there and in some cases are used in today’s films, albeit sparingly. He was able to take his characters and scenes and convey through the screen the tension and urgency felt on either side. He would show you the hero and at the same time show you the death of the bad guy. That was the emotional response that he wanted to convey. That, even though we need to see our hero in action it was equally important to see the consequences of the hero’s actions. That death and killing is not a silly video game, but something deeply personal that made the viewer more part of the whole experience. He knew back in the 1950s how things should be portrayed in film. He was a forward-thinking, visionary. He knew the only way to win over an audience was to keep them enveloped inside the tension on the screen and he knew he needed to get an emotional response from the audience or his job was not complete.
Kurosawa was a pioneer in using certain camera and editing tools to get his point across. Sure, there were other pioneers, in other countries, doing things like this before him, but he was the one to use it for story-telling and character development and it paid off, considering his now-legendary status. His tools of the trade, especially as it applies to this film, was incorporating telephoto lenses for close-up shots, quick jump-cuts to enhance the action and slow motion to enhance the consequences and finalities of death and killing. This truly is like an epic novel unfolding in front of you. The length of the film is long, but in this case the success and execution of this film comes with the patience needed to get a point across. It is pure beauty.
Japanese composer Akira Ifukube, who pretty much would end up being one of the most popular composers in Japanese film history, especially from a westerners point of view, because of his work with Toho Studios and the Godzilla franchise, might not have been the most famous if it wasn’t for another Japanese composer named Fumio Hayasaka. Hayasaka was a great friend of Kurosawa’s and would work on a lot of his films leading up to the Seven Samurai. His haunting melodies crossed with traditional Japanese folk music was the perfect sound that Akira Kurosawa was looking for. So much so, that his music would help influence how Kurosawa made his films. It was here that Kurosawa realized that music in films should be used more as a counter-point than a complement. That music has the ability to strengthen the visual scene. It was here that Hayasaka was able to contribute to the visual style seen throughout the film. What derailed his legendary status of Hayasaka? Unfortunately, the following year after the release of the Seven Samurai, Hayasaka was struck down by tuberculosis at the young age of 41.
It is interesting watching this film, in the fact that, being a fan huge fan of the American remake, The Magnificent Seven (1960), this film helps to give a more detailed explanation of the back-story on certain characters and scenes found in The Magnificent Seven, and answers many questions that actually help make The Magnificent Seven even more enjoyable and understandable on repeat viewings. What you eventually have here is something that comes full circle. Kurosawa said that he was influenced by the American Western film-makers of the 30s and 40s, such as John Ford and to have America then make The Magnificent Seven based off of the Seven Samurai makes one think that this is the outcome that should have happened. It all comes full circle.
This film has so many messages, philosophies and lessons in it. It is an important film to me, because I am a huge fan of Japanese culture and history, plus it is an earthly film, because it deals with the human element and the natural world around us. There is nothing mystical about this film. There is no need for special effects or fantasy-inspired scenes. It is all real. It is all part of being human. It is part of human history, even though it is told through artistic interpretation. There is no need to be curious in the legitimacy of it. It shows the desolation and impact the horrors of the world can put onto a human being. It reminds us of how lucky we are to be living in the 21st century and not having to make deals and use unscrupulous means just to get something to eat. It shows us how far we have come as a society when it comes to women issues and respect for the elderly, sick and poor. It is a perfect contrast between good and evil. It shows that all men have to face the urge to be dangerous and evil and that we are all born with these traits. It’s just up to you on how you will act on that as you move through this thing called life. It is up to you on how you want your destiny to look like 500 years from now.
Other Notable Akira Kurosawa options:
The Hidden Fortress (1958)
High and Low (1963)
Dersu Uzala (1975)
Ran (1985)
Famed Japanese film-maker Akira Kurosawa has many films, but usually, which film is the first one that you think of when you hear his name? It’s the Seven Samurai and most subscribers to the film-world pick this film as the greatest film to ever come out of Japan and usually this one appears on all ‘best lists” that you can find.
 |
| Photo by Chris Mich. |
Genre: Drama, Action, Japanese
Format: Standard 4:3 Format, Black & White, Subtitled
Director: Akira Kurosawa
Starring: Toshirô Mifune, Takashi Shimura, Keiko Tsushima and Yukiko Shimazaki
In the year 1586 a Japanese village is constantly attacked by bandits, who plague the inhabitants' village and take whatever they want from the terrified villagers. One day after an attack by the bandits the villagers seek the wisdom of an elder, who tells them even though they cannot afford weapons, they can find men with weapons, samurai, who will fight for them, especially if they find samurai who are down on their luck and wondering where their next meal will come from. They find a very experienced samurai with a good heart who agrees to recruit the rest of the team of samurais for them. He selects five genuine samurai and one who might not be. The seven return to the village to protect it from the forty plus bandits and the battle lines are drawn.
This film is mesmerizing. It's like reading a great novel and with each turn of the page another mesmerizing one opens up. It is epic in its design and has many interesting, likeable characters. This film moves along like a beautiful Japanese melody. Sure, the length is almost four hours long, but it is a nicely paced film and moves along quickly. I mean if you want a film to feel like an epic novel and an excellent read, what better way to do it, but with a Japanese film masterpiece, subtitled in English that moves along like a fine song.
The leader of the group, Shimada, played by Takashi Shimura, is the perfect choice for this role. His ability to express a kind-hearted elder persona and combine it with the ferocity of a Ronin is impeccable. Shimura was one of the biggest actors in Japan at the time. He appears in numerous films in the 1950s and 60s. Among some of the legendary great films he did were, Rashomon (1950), Ikuru (1952) and The Hidden Fortress (1958), just to name a few. He also took part in a little film, near to my heart, called Gojira (1954). Shimura would become a huge part of special effects master, Eiji Tsuburaya’s Godzilla universe (if you will), and appear in at least seven of Toho Studio’s science fiction monster classics from 1955-1965, ever enshrining him to International fame and a respect from film fans all over the world. His character, Shimada, from the Seven Samurai is the rock that holds everything else together and his facial expressions are amazing. He can show you fear and concern and in the next scene express happiness and joy. His signature rubbing of his head when he needs to think or when his emotions are about to change is one of the best parts of the movie, because, with you, half the time, he too isn’t sure what to make of the villagers and the other six samurai. It is one of the best ways I have seen in a film to show what is going on in someone’s mind without uttering a single word.
As with many of the classic Japanese films of this era, much of the rest of the cast is less notable. You probably recognize the faces from various other films and may know a little bit about them depending on your knowledge, but do not be fooled by this. The acting and execution of the scenes is as perfect as can be and even though they are not huge stars, their impact on this film is tantamount to the finished piece. Of course, Kurasawa would hire a lot of extras to be the villagers, so much so, that he hired real villagers to make things even more believable. One of the three villagers that come to enlist the samurai is played by an actor named, Yoshio Tsuchiya. In my estimation, out of all the other secondary characters in the film, Yoshio Tsuchiya is one actor who Americans might recognize. For he too, like Takashi Shimura, would join with Eiji Tsuburaya and appear in over ten of the Japanese science fiction monster films of the 50s, 60s and 70s that were produced by Toho Studios. He is the main character in Godzilla Raids Again (1955) and returned eventually in 1991 for Godzilla vs. King Ghidorah (1991).
There is another name in the cast that does stand out, even more so than Takashi Shimura. This man would gain even a larger piece of the international stardom pie, for he would go on and appear in many great films in Japan and around the world. A guy named Toshiro Mifune. Mifune would end up doing over 160 feature films in his career, most notably in the United States in the film Midway (1976) as Admiral Isoroku Yamamoto, even though his voice had to be dubbed by a guy named Paul Frees. It was not a problem. His facial expressions are all you need. He also appeared in the 1980 NBC Television mini-series with Richard Chamberlain called Shogun. In the Seven Samurai, Mifune plays Kikuchiyo. Kikuchiyo is a complex character and if it wasn’t for Mifune and Kurosawa’s masterful ability to tell stories without losing the audience this character would be tough to sell. He is the one who provides most of the comedic-relief in the film. His character is the one that helps draw the contrast between samurai and peasant. His character can do what any of the other samurai’s can, even though he is nuts and drunk half the time. His character is the one that produces the most mystery and the most resolve.
Akira Kurosawa was one of the pioneering directors of classic cinema, who helped build the modern day action film. If it wasn’t for him we might not have the major blockbuster action movies that we see today. True, the lessons learned from Kurosawa seem to be lost on today’s emotionless and plastic action films, but the influence is there and in some cases are used in today’s films, albeit sparingly. He was able to take his characters and scenes and convey through the screen the tension and urgency felt on either side. He would show you the hero and at the same time show you the death of the bad guy. That was the emotional response that he wanted to convey. That, even though we need to see our hero in action it was equally important to see the consequences of the hero’s actions. That death and killing is not a silly video game, but something deeply personal that made the viewer more part of the whole experience. He knew back in the 1950s how things should be portrayed in film. He was a forward-thinking, visionary. He knew the only way to win over an audience was to keep them enveloped inside the tension on the screen and he knew he needed to get an emotional response from the audience or his job was not complete.
 |
| Photo by Chris Mich. |
Japanese composer Akira Ifukube, who pretty much would end up being one of the most popular composers in Japanese film history, especially from a westerners point of view, because of his work with Toho Studios and the Godzilla franchise, might not have been the most famous if it wasn’t for another Japanese composer named Fumio Hayasaka. Hayasaka was a great friend of Kurosawa’s and would work on a lot of his films leading up to the Seven Samurai. His haunting melodies crossed with traditional Japanese folk music was the perfect sound that Akira Kurosawa was looking for. So much so, that his music would help influence how Kurosawa made his films. It was here that Kurosawa realized that music in films should be used more as a counter-point than a complement. That music has the ability to strengthen the visual scene. It was here that Hayasaka was able to contribute to the visual style seen throughout the film. What derailed his legendary status of Hayasaka? Unfortunately, the following year after the release of the Seven Samurai, Hayasaka was struck down by tuberculosis at the young age of 41.
It is interesting watching this film, in the fact that, being a fan huge fan of the American remake, The Magnificent Seven (1960), this film helps to give a more detailed explanation of the back-story on certain characters and scenes found in The Magnificent Seven, and answers many questions that actually help make The Magnificent Seven even more enjoyable and understandable on repeat viewings. What you eventually have here is something that comes full circle. Kurosawa said that he was influenced by the American Western film-makers of the 30s and 40s, such as John Ford and to have America then make The Magnificent Seven based off of the Seven Samurai makes one think that this is the outcome that should have happened. It all comes full circle.
This film has so many messages, philosophies and lessons in it. It is an important film to me, because I am a huge fan of Japanese culture and history, plus it is an earthly film, because it deals with the human element and the natural world around us. There is nothing mystical about this film. There is no need for special effects or fantasy-inspired scenes. It is all real. It is all part of being human. It is part of human history, even though it is told through artistic interpretation. There is no need to be curious in the legitimacy of it. It shows the desolation and impact the horrors of the world can put onto a human being. It reminds us of how lucky we are to be living in the 21st century and not having to make deals and use unscrupulous means just to get something to eat. It shows us how far we have come as a society when it comes to women issues and respect for the elderly, sick and poor. It is a perfect contrast between good and evil. It shows that all men have to face the urge to be dangerous and evil and that we are all born with these traits. It’s just up to you on how you will act on that as you move through this thing called life. It is up to you on how you want your destiny to look like 500 years from now.
Other Notable Akira Kurosawa options:
The Hidden Fortress (1958)
High and Low (1963)
Dersu Uzala (1975)
Ran (1985)
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