The 1954 movie “Seven Samurai”, directed by Akira Kurosawa, and the1960 remake of it called “The Magnificent Seven”, directed by John Sturges have many similarities yet differ enough to obtain their own style for a similar plot and story. For example, the plot of both movies entails farmers hiring mercenaries to help fend off bandits that pillage their farms. One of the main similarities between the “Seven Samurai” and “The Magnificent Seven” is the plot. In both movies bandits pillage a small village and the farmers are left with barely enough food to survive. In “The Magnificent Seven” Calvera and his men actually stop in the town and talk to the farmers, however, in “Seven Samurai” the bandits ride by and are overheard by a farmer about coming back when the barley is ripe. The farmers then have a meeting and decide to hire mercenaries. The two movies also have differences like the characterization of the gunmen/samurai in “The Magnificent Seven” as opposed to “Seven Samurai”. I believe such differences help place each film in their appropriate era and location, aiding to the demand of cinema at the present.
More specifically, the difference that I wish to focus on is the centralized character in both films; Chris Adams in “The Magnificent seven” and Kambei Shimada in “Seven Samurai” and how each portray, uniquely, leadership, knowledge, and modest strength.
The character Kambei Shimada in “Seven Samurai” depicts leadership of the group of samurai and was the first to be “recruited” by the villagers. He was first introduced in the film when he was selfishly shaving off his topknot in order to take full disguise as a monk. The purpose was to trick a thief/kidnapper that was hiding in order to rescue a child. “Kambei’s act it not milked for meaning. It is largely gratuitous, an immediate response made without soul-searching.”(Anderson, 1962) His actions did not seek retribution or acknowledgement that he has done a great deed and should therefore be praised for it. Also, the act of shaving off his topknot, a hairstyle that is significant to a samurai, signified and resembled a look that of a monk. He embodied his kind and caring person, while actually retaining his samurai status. This later becomes the reason as to why the villagers seek Kambeis help. His wit, modesty, intellect, and war-weary characteristics make him trustworthy and likeable.
Similar to Kambei Shimada in “Seven Samurai”, Chris Adams in “The Magnificent seven” reflects the same characteristics and moral but in the light of an American Western. Chris Adams was also approached by the townspeople to help protect their land and profits from bandits. He was elected similarly as to how Kambei Shimada was; by charitably performing an act that helped out the wellbeing of another. “He is revealed as a prototypal core-member who, uneasy over segregation of corpses in Boot Hill, uses his gun-slinging talents to stage a bury-in for a dead Indian.”(Anderson, 1962) Chris showed great apathy to the idea of discrimination against a different culture when no one else would show any respectability towards a dead man. This was similar to the act of Kambei Shimada shaving off his topknot and rescuing the child from the kidnapper, except Chris’s act of moral addressed the battle of segregation at that point in time.
“What isn’t more important is that reason why a man acts, rather the fact that he does act.”(Anderson, 1962) The implication of social consciousness in Kambei Shimada’s character in “Seven Samurai”, Chris Adams’ character in “The Magnificent seven” is important for the viewer’s sake. It amplifies and makes obvious the premise why Chris Adams and Kambei Shimada will go out of their way to defend those who sought their help. We see that it is in their good nature to help those who greatly yearn it. Both films do a great job in showing us the complex characteristics of the main character that forth holds the story overall in the same sense, individually in complete polar ways.
Bibliography
When the Twain Meet: Hollywood's Remake of "The Seven Samurai"
Joseph L. Anderson
Film Quarterly, Vol. 15, No. 3, Special Issue on Hollywood (Spring, 1962), pp. 55-58
Published by: University of California Press
Stable URL: http://www.jstor.org/stable/1210629
Monday, October 19, 2009
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Stephanie's "Sholay" post in response/ comparison to "The Magnificent Seven" and "Seven Samurai".
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In comparison to “Seven Samurai” by Akira Kurosawa in 1954 and “The Magnificent Seven” by John Sturges in 1960, “Sholay” is easily separated by many factors. Directed by Ramesh Sippy “Sholay” exists as a Bollywood version of the two favorite classics. Separated by not only cultural differences, “Sholay” was released is 1975; nearly fifteen years post “The Magnificent Seven”. A time gap such as that as well as the Hindi influence allows for much diversity between the “Sholay” and both “Seven Samurai” and “The Magnificent Seven”. In comparison, the centralized figures in both films; Chris Adams in “The Magnificent seven” and Kambei Shimada in “Seven Samurai” each portray themselves uniquely through leadership, knowledge, modesty, and strength. Although, in contrast the main character from “Sholay”, Jai (played by Amitabh Bachchan) does not quite line up with Chris Adams and Kambei Shimada. Rather, his position in life at the present time as well as his enthusiasm in his actions drastically migrates himself from the coherent way we are use to identifying the main figure in each remake. Just as I have stated before, I believe such differences help place each film in their appropriate era and location, aiding to the demand of cinema at the present.
In “Sholay” we are first introduced to our main figure as a criminal whereas in “The Magnificent Seven” and “Seven Samurai,” Chris Adams and Kambei Shimada are non-judging good hearted men who act out a moment of heroism and/or respect for strangers of a town that they are not native to. In “Sholay” Jai has done the opposite, although we are unsure of what he has done and the severity of the act. Only later does he show a side of strength and power when he stops the bandits from robbing the train and then brings the shot officer to the hospital. This scene we are introduced to Jai’s wingman Veeru, who then helps protect the train as well.
In “The Magnificent Seven” and “Seven Samurai” both central characters have a friend that stands by them from beginning to end, whether they were familiar with them previously or not. Here, Jai and Veeru give off the impression that they have been long time friends and have a strong relationship with one another. In the other two films, Chris Adams and Kambei Shimada seem to have either met their wingman in the present, or have been ancient friends with them and have not been in contact with them for quite some time. This difference, I believe, is a nice touch for “Sholay” because it helps structure the story through the film. Also, just the existence of only two men as the heroes in the film is a large difference compared to “The Magnificent Seven” and “Seven Samurai” where there were seven. The directors’ decision in doing so allowed for Jai and Veeru to take on characteristic of many men from the older versions.
The way in which these two men were involved in helping out the townspeople from Gabbar’s terror was also a key difference. In “The Magnificent Seven” and “Seven Samurai”, the men volunteered their services to help out the townspeople for one small reason or another, but in “Sholay” Jai and Veeru were hired by Thakur for his own personal revenge on Gabbar.
Jai is noticeably different from Chris Adams and Kambei Shimada because of his laid back, standoffish attitude to life and all that is happening around him. There are instances where we see his compassion, such as when he falls in love with the woman in the white Hijab and towards the end of the film when he sacrifices his life to save Veeru, that helps us respect him more as hero. But, mainly through the film it is difficult to feel compassion and pride for Jai due to his poor attitude and lack of enthusiasm.
This difference in the centralized character between “Sholay”, “The Magnificent Seven” and “Seven Samurai” is interesting in how it alters through time and cultural influence.
Nice reading of the Sevens! I actually think that Jai has something in common with Kambei and Chris: a particular kind of cool. In Kambei it is almost a monk-like calm; in Chris it becomes a kind of beneficent nonchalance; in Jai it becomes the aloof self-sufficiency of a 70s anti-hero. I think that the revelation about the coin at the end connects him even more closely to Kambei and Chris, as it reveals that he's had a strong ethical determination throughout the story. Nice work overall! Oh, watch your word choice. Since I can't mark in the text it's hard to comment on this, but sometimes you choose words that aren't exactly right for the context.
ReplyDeleteDeborah,
ReplyDeleteThanks a bunch. I enjoyed linking these 3 together,and I will work on my word choice for the future and try to have a friend proof read it prior to submitting.
-Steff
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