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Seven Samurai (1954) Movie Info:
Director: Akira Kurosawa
Writers: Akira Kurosawa (screenplay), Shinobu Hashimoto (screenplay)
Stars: Toshirô Mifune, Takashi Shimura, Keiko Tsushima
Drama | 19 November 1956 (USA)
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Rehashed viewings of “Seven Samurai” uncover visual examples. Consider the incongruity, for instance, in two arrangements that bookend the principal fight with the scoundrels. In the main, the villagers have heard the brigands are coming, and surge around in frenzy. Kambei orders his samurai to quiet and contain them, and the ronin keep running starting with one gathering then onto the next (the villagers dependably keep running in gatherings, not independently) to crowd them into spread. Later, after the criminals have been rebuffed, an injured crook falls in the town square, and now the villagers surge forward with postponed courage to execute him. This time, the samurai hustle about pushing them back. Reflected scenes like that can be found all through the motion picture.
There is additionally an instinctual feeling for sythesis. Kurosawa continually utilizes profound center to take after concurrent activities in the frontal area, center and foundation. Regularly he portrays the separation with hindrances. Consider a shot where the samurai, in the frontal area, peer out through the supports of a building and over a void ground to seeing the outlaws, peering in through the braces of a boundary raised against them. Kurosawa’s moving camera frequently maintains a strategic distance from slices to make correlations, as when he will start on discourse in a closeup, clear through a room or a clearing, and end on a closeup of another character who is the purpose of the exchange.
Numerous characters bite the dust in “Seven Samurai,” however brutality and activity are not the purpose of the motion picture. It is more about obligation and social parts. The samurai toward the end have lost four of their seven, yet there are no dissensions, since that is the samurai’s parcel. The villagers don’t much need the samurai around once the criminals are gone, on the grounds that furnished men are a risk to arrange. That is the way of society. The samurai who began to look all starry eyed at the neighborhood young lady is utilized altogether as a part of the arrangement of the last shots. To begin with he is seen with his partners. At that point with the young lady. At that point in an uncommitted spot not with the samurai, but rather some way or another of them. Here you can see two sorts at war: The samurai film and the Western with which Kurosawa was very natural. Should the saint get the young lady? Japanese gatherings of people in 1954 would have said no. Kurosawa put in the following 40 years contending against the hypothesis that the individual ought to be the instrument of society.
The prototype activity film, Seven Samurai is additionally one of the wealthiest attempts to ever be focused on celluloid. Each of its characters is uncommonly understood; each has his or her own bend, his or her own crucial part to play in the film’s moderate movement towards its emotional finale. Commonly, Kurosawa has assembled the film utilizing a surpassing level of aestheticness; every single shot, every activity succession, is perfectly created; but then none appears to be thought up or strange inside the general fabric of the work. Everything is wonderfully imagined and in center, both truly and metaphorically.
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