Comparison of Seven Samurai and Magnificient Seven …
This paper will be on the movie, Seven Samurai
Not that Seven Samurai was the first movie to figure out those ideas. It was just one of the most unique, made with incredible skill by a man born to stand behind a movie camera. It did so in a way that transcended cultural boundaries, telling a story set in a specific time and place that could be felt anywhere human beings ever lived.
Essay on The Origins of the Samurai and Bushido Codes
The results were an international sensation, which was pretty darn hard to do in the days when computers were physically bigger than your average apartment building. On our side of the Pacific, we learned a little bit more about how Japanese culture functioned. On his side, audiences got a good look at the individualism of the West and how it ran smack into the face of traditional Japanese values like duty and communal obligation. And by giving the Western a distinctly Asian vibe, he actually showed Hollywood filmmakers how to make movies like this. Seven Samurai set the bar for later fantasy-epic-sci-fi-comeoneverybodyjustgivethemallyourmoney blockbuster that followed.
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Finally, closing off the set, is a thick 56-page booklet featuring a number of essays. Kenneth Turan looks at the length of the film and use of its time, followed by Rayns who looks at the western influences found in the film and Kurosawas fondness of John Ford (right down to the sun glasses.) Philip Kemp writes about the Bushido and the Samurai code (covered also in the commentaries and documentaries found on the disc,) Peggy Chiao covers influences on Kurosawa ranging from books to art, and Alain Silver looks at the compositions found in the film. Stuart Galbraith IV then closes off the more analytical essays with a piece about the films popularity. Criterion then includes two short but excellent tributes by Arthur Penn and Sidney Lumet. The booklet then closes with a wonderful reprinting of an interview/conversation with Toshiro Mifune about how he got into acting, first working with Kurosawa, and then filming . An absolutely wonderful booklet.
Samurai Values: Jin (Benevolence) | koshersamurai
Toshiro Mifune had been working for seven years previous to , and he had already made six films with Kurosawa, while the duo made 16 films together until the lengthy process of making ended their relationship. Mifune finished 181 films before his death in 1997. Nonetheless, his performance here is the one for which he will forever be remembered. The harshest critics called him over the top and hammy, but with his character (who's introduced with his oversized sword, in what must be the 16th century equivalent of a middle aged man buying a sports car) it's quickly apparent that he's overcompensating for his inadequacies. Followed by children (Kurosawa makes this the most natural thing in the world), and loved by the men eventually, they know he's not a real samurai (at least not until the end). When it's revealed that he was orphaned as a baby and grew up a farmer, everything makes sense: his character longs for approval and acceptance, although he knows he doesn't deserve it. Mifune has an amazing fluidity to his body, as well as the gift to simply be on camera. Though is an ensemble film, and the group of actors is excellent, Mifune has a showcase of a role, a honey, and he relishes such a ripe opportunity.