Shichinin no samurai (1954)

Note Générale:

8,8/10   

Réalisateur:

Akira Kurosawa

Scénaristes:

Akira Kurosawa (screenplay) &
Shinobu Hashimoto (screenplay) ...

Date de sortie:

19 novembre 1956 (USA)

Genre:

Action | Aventure | Drame | Guerre

Accroche:

The Mighty Warriors Who Became the Seven National Heroes of a Small Town

Intrigue:

A poor village under attack by bandits recruits seven unemployed samurai to help them defend themselves.

Plot Keywords:

Samurai | Bandit | Farmer | Japan | Rice

Récompenses:

Nominated for 2 Oscars. Another 4 wins & 5 nominations

Avis des utilisateurs:

Solid Gold

Ensemble

Takashi Shimura	...	Kambei Shimada
Toshirô Mifune	...	Kikuchiyo
Yoshio Inaba	...	Gorobei Katayama
Seiji Miyaguchi	...	Kyuzo
Minoru Chiaki	...	Heihachi Hayashida
Daisuke Katô	...	Shichiroji
Isao Kimura	...	Katsushiro Okamoto
Keiko Tsushima	...	Shino
Yukiko Shimazaki	...	Rikichi's Wife
Kamatari Fujiwara	...	Manzo, father of Shino
Yoshio Kosugi	...	Mosuke
Bokuzen Hidari	...	Yohei
Yoshio Tsuchiya	...	Rikichi
Kokuten Kodo	...	Gisaku, the Old Man
Takuzo Kumagaya	...	Peasant (as Jirô Kumagai)

Autre(s) titre(s):

Seven Samurai (UK) (USA)
Shichi-nin no samurai (Japan) (alternative transliteration)

Durée:

160 min (international version) | Argentina:163 min | Japan:206 min (initial release) | Sweden:202 min (2002 re-release) | UK:150 min (original version) | UK:190 min (1991 re-release) | USA:141 min | USA:203 min (re-release) | USA:207 min (restored version) | Spain:202 min (DVD edition)

Pays:

Japan

Langue:

Japonais

Couleur:

Noir et Blanc

Rapport de forme:

1,37 : 1

Son:

Mono

Classification:

Iceland:12 | Portugal:M/12 | Brazil:10 | Czech Republic:U | Spain:T | Argentina:16 | Australia:PG | Canada:G (Quebec) | Canada:PG | Denmark:15 | Finland:K-16 | Norway:16 | Sweden:11 (re-rating) (2002) | Sweden:15 (original rating) | Switzerland:14 | UK:A (original rating) | UK:PG (video rating) (1991) | USA:Unrated | West Germany:16

Société:

Toho Company

Anecdotes:

Was voted the 12th Greatest Film of all time by Entertainment Weekly, being one of two films in the magazine's top 20 greatest films not in English. Federico Fellini's La dolce vita (1960) is No. 6.

Goofs:

Anachronismes: In the closing moments of the final battle, the bandits fire two musket shots only seconds apart. It is clear from the plot that at that point they have only possess one musket. The black powder muskets of the age required much more time to reload. This error was pointed out in the commentary of the deluxe DVD edition.

Guillemet:

[first lines]
Bandit second-in-command: We'll take this place next.
Bandit Chief: We took it last autumn. They haven't got anything worth taking yet. Let's wait.

Connexions:

Référencé sur "Heroes: Chapter Ten 'Six Months Ago' (#1.10)" (2006/II)

Solid Gold

I discovered 16 of Kurosawa's best known films before returning to the which is commonly thought of as his masterpiece. Seven Samurai is unlike any other grand classic ever produced. It's basic plot can be summed up in a single easy sentence, yet its refinement and execution rival any movie you've ever seen.

The premise: in chaotic 16th century Japan, as marauders threaten raid villages, one village hires samurai to defend it from a group of bandits. Yet Kurosawa (also co-writer) developed these characters in a way unheard of for what might pass as an epic action film. To its astonishing credit, through all of its 207 minutes running time, Seven Samurai never falters or bores. And if the script is a marvel in itself, the acting and production design than derive from it are nothing short of superlative. It is said that Kurosawa forced the villagers (from supporting role to mere extra) to live together as a community during production and be their characters, each and every one of which he had drawn out specifically. This unusual technique gave Seven Samurai a feel of authenticity unparalleled in film history.

The samurai themselves are so richly given life to in the screenplay that little more would have been needed to make them memorable characters, yet the main cast pay off at every turn, and though every one of the seven main actors give in perfect performances (never as I had feared before watching it do you confuse them, even in the chaotic battle scenes), two immortal roles have a particularly resounding effect: Takashi Shimura (Kambei Shimada), who plays the leader of the ragged band of samurai, gives his sage and venerable warrior a god-like intensity that makes the magnetic charisma of his character unquestionable. One of the easiest leaders to root for in all the history of film-making. Stealing the show however, albeit by a very thin margin, is longtime Kurosawa favorite coworker Toshiro Mifune (Kikuchiyo) as the rogue seventh, the black sheep of the herd, giving the bravura ultimate performance of a lifetime paved throughout with great roles.

The story follows them and the villagers, equally nuanced and developed, through their encounter, training, eventual bonding and the big inevitable fight for survival. Unlike subsequent very successful remakes (i.e. Magnificent Seven), seven Samurai transcended excellency by having many layers (nothing or no one is white or black: everything exists in shades of gray) and thus being very real and human. Even without the menace, its interpersonal dynamics would have made it perfect human drama, subtle, balancing comedy, intensity, realism, drama and a deep philosophy with astonishing ease, yet the menace does materialize and thus Seven Samurai unleashes its violence in a series of action scenes crafted with such vision and ingenuity as has ever reached an action film (the frenetic battle scenes at the end rather evoke Saving Private Ryan in their relentlessness).

In the end, what made this into solid gold was, at the core, Akira Kurosawa, who would, despite directing many further masterpieces (Throne of Blood, Yojimbo, Red Beard, Dersu Uzala, Kagemusha, Ran), would never top this one. Throughout his life, Kurosawa kept confirming his status as perhaps the greatest director ever. If so, Seven Samurai is the ultimate proof of that truth. One of the very best films ever made and personal all-time favorite.