Old but good
SEVEN SAMURAI (1954)
It’s three-and-a-half hours long, shot in black and white, and set in 16thcentury Japan. Not exactly a pitch you’d expect modern-day studio execs to get behind but it’s a testament to the brilliance of director Akira Kurosawa that almost 65 years after its debut his classic band-ofbrothers drama was recently voted the best foreign language film of all time in a BBC critics’ poll. Remade more popularly but less artistically as The Magnificent Seven,
Kurosawa’s story still stands the test of time as a non-western Western tale of honour among a group of seemingly disparate vigilantes bound by a shared sense of justice and honour. Featuring a standout performance by long-time Kurosawa muse Toshiro Mifune as a bumbling wannabe but ultimately deserving warrior, it’s a film that continues to deliver on all levels. Kurusowa’s pioneering slow motion action technique became a much emulated favourite of ’70s American new wave directors and ’90s Hong Kong action cinema. Many of Kurosawa’s other films – Rashomon,
Ikiru, Ran, Throne of Blood, Yojimbo – have made appearances on top 100 lists over the years and served as inspiration for English-language remakes. But it’s fitting that this, probably his most fully realised epic, is the one that takes the top spot. In the era of the multi-character superhero blockbuster, Seven Samurai remains a touchstone of a magnificent cinematic legacy and a reminder of the power of telling a compelling and rewarding story through good old-fashioned characterisation, casting and strong visual storytelling that still has plenty to teach all directors.
Though his reputation in his native Japan has always been somewhat begrudgingly acknowledged, Kurosawa’s influence over the rest of the world’s cinema over the past half century has been far-reaching and easily earned and you have to think that were he still alive he would be pleased to see that this film, his personal favourite, has been given this accolade. Whether you agree with his win or not, the best thing about the award is that it’s a great excuse to go back and watch Seven Samurai again. If you don’t find yourself cheering on the brave warriors in the film’s long, rain-drenched, desperate climax, well, then you may just not be human, I’m afraid.