The Classic Corner: Seven Samurai (1954)
Where to start?
Well, first of all I’m completely unqualified to talk about this film critically. And I don’t mean because I’m a layman whose only field of expertise is coin-op arcade games of the late 80’s. I mean it because I’ve seen it only once. So, what follows in this article is probably nothing more than first impressions. I’m guessing a film of this magnitude, with such a massive imprint on the collective conscience and memory of the movie-going public both foreign and domestic, requires repeat viewings or else it will always elude me.
Not only have I seen it just once, but that one time was in the past week. As well I should swallow swords and tell you what it tastes like right?
Now that I’ve established my impotency in the face of this cultural monolith let’s continue with the critique shall we?
Um, again, where to start?
I guess we have to start with Katsushiro. Young, untested, naïve, idealistic, uncertain, pure hearted, capable of greatness, boyishly handsome. Everything that I can identify with. No, but seriously, most of us, by necessity, must identity with Katsushiro. He hasn’t seen much, so we get indoctrinated along with him. He’s our only way into this vast and exotic world of stern-faced ronin, bad news bandits, puerile peasants and the feudal socioeconomic conditions of 16th century Japan which bind them all.
Without Katsushiro we probably never get close enough to Kambei, the Obi-Wan before Obi-Wan. Early on, everything we learn about him is gleaned from how he teaches young Katusushiro, either by word or action. Kambei is the character who’s stuck with me the most. That may or may not change with another week of digestion, or upon repeat viewings, but as of right now, it’s Kambei.
There’s a moment right before the intermission where he reins in the self-interested peasants who’ve gone wayward, aligns them in military formation and delivers a short concussive speech to steel their frayed nerves for the coming battle. It’s a chilling moment and easily surpasses the more syrupy calls to battle given by say Mel Gibson in Braveheart or Viggo Mortensen in Lord of the Rings.
After the intermission, the second half of the film is dominated by the transformation of the impetuous Kikuchiyo from a would-be Samurai into a full-fledged warrior full of honor, courage, loyalty and sacrifice. He proves to be every bit worthy of the Samurai class in spirit if not in name or birthright.
Make no mistake, Toshirō Mifune, the actor who portrays Kikuchiyo, is the star of this show. His performance is truly iconic, suffused with equal portions humor and humanity. Forget the emotional aspect, his sheer physicality is a thing to watch. If there is anything like screen presence then Mifune has it in spades. The man is a force of nature and darn near rivals the driving rainstorm that envelopes the penultimate battle for visceral impact.
And yet, Kambei sticks with me. I can’t explain why. I guess I have to go back and watch it again.
A
(10 out of 10)
15 Comments
I never really understood the love for Kurosawa, to be honest. Yes, they’re good movies, but they always felt so distant to me. I much prefer Masaki Kobayashi’s Harakiri over this movie.
I guess it’s a matter of personal preference. This was my first exposure to Kurosawa and it struck a chord with me right away. Ikiru is probably next on my list for Kurosawa films, as I slowly get into it.
I’ve heard good things about Harakiri too, but I have to proceed slowly with these classics. For a relative novice like me, who still confuses Ingmar Bergman with Ingrid Bergman
, I have to train my palate to truly appreciate the finer films.
As long as you don’t cut them slack just because they’re classics. I think Hitchcock is one of the most overrated directors of all time, classics be damned.
I guess Harakiri is more… European, if that makes any sense. Instead of telling a broad story with lots of characters, it tells a very little story but in a very moving and human way. Which I personally preferred.
Do you not understand the love for Kurosawa as an enjoy his movies point of view? If so, that’s understandable but then again do you ever understand the love for anything you disagree with? Walking a thin line there between criticism of film and criticism of people.
As for myself, I could go on all year about why I love Kurosawa. But if you’re ever curious about why – check out my 23 Days of Kurosawa marathon that I did one year ago.
I don’t try to criticize Kurosawa as a person (I don’t know him, after all) but merely stating my opinion that I find him an overrated filmmaker. Not a bad one, an overrated one.
To be honest I’m much closer to being a casual movie lover than a critical theater aficianado, so I probably miss the more nuanced layers about film that make them so intellectually stimulating to true students of the art. But I am trying to get there, because the greater the knowledge, the finer the appreciation, that’s for sure.
But at this point in my film-watching progression, I guess for me it just boils down to: does something move me or not. Does it inspire me or not. Does it touch me or not. Seven Samurai touched me in a very human way and was also a pretty rousing adventure ride at the same time.
Based on your description, I do think I will enjoy Harakiri and I’m actually glad that it is something very different in tone and approach than Seven Samurai. It’s like I enjoyed the New York style pizza, now let me try some Chicago deep dish.
And speaking of Hitchcock, he’s another one of those masters of the art that I have yet to dive into.(Which again exposes where I’m at. Ha!)
Yea, I’m going to check out Harakiri very soon, it’s near the top of my Netflix list.
Kambei sticking with you is what I call the ‘Takashi Shimura factor.’ He’s so subtle in the way he drives his performances and yet he still somehow manages to draw the attention, it’s the perfect counterbalance to the demanding Mifune. If you want to see a good example of this, check out I Live in Fear – they play wonderfully off each other.
You’re right, counterbalance is the perfect way to describe not just the interplay between Mifune and Shimura, but between all the various characters. None of them seem redundant or superfluous.
My favorite character of “The Seven Samurai” is Kyuzo, played by Seiji Miyaguchi. Stoned face but man, the guy is a bad-ass. It’s been a few years since I’ve seen this film (and it’s currently my favorite Kurosawa that I’ve seen so far). Yet, I just remember that guy’s face and how he was able to take out everyone.
It’s a film that everyone must see. And I should note that Takashi Shimura’s character Kambei is really a prototype for Yoda. If anyone remembers “Revenge of the Sith” of how Yoda would rub his head at times. It’s a nod to the way Kambei would rub his head.
Loved Kyuzo. He gave me two distinct chill moments:
1. When he chopped down the braggart begging for a fight.
2. When he calmly stepped out from behind the tree to ambush the scouts.
A great ensemble all around.
Kikuchiyo’s emotional catharsis in the river– “He’s just like me!”– kills me every time. That the movie not only contains moments with that kind of power, but revels in them, really makes it stand out in Kurosawa’s oeuvre, aside from the fact that Seven Samurai is basically the classic “men on a mission” movie and a watershed production of its time.
There are so many chilling moments in this film it’s crazy.
When Kikuchiyo scales that rooftop to mount their flag and he sees the band of bandits on horseback crest the hill in the distance, the hair literally stood up on the back of my neck.
Just 2days before I watched this film. And plan to write a review about it. BTW good review Rick. I like the film. Added to my Best Classic movie list. Cheers
What a great review, just on one viewing! And in terms of the way to “analyze” a film – well, I just want to be entertained and swept off my feet, and if I feel something deeper, THEN I try to reflect on why. That’s how the great Kurosawa operated; he wanted films to entertain, and deeper subject matter was there under the surface.
Mifune IS great, as is Shimura. To me, Mifune represents the fiery, impassioned side of humanity, and Shimura the compassionate, humane side.
And the film is so visually masterful, with perfect compositions which never seem overly “showy.” And on repeated viewings, i notice how perfectly the actors appear in the film frame – all the film-school stuff about how a camera angle signifies one’s relationship to the other, and all that – that’s all there for you, but it never seems overly stagy or blocked. The art which conceals art, indeed.
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