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Seven Samurai | 
 enlarge | Director: Akira Kurosawa
Actors: Toshiro Mifune, Takashi Shimura, Yoshio Inaba, Seiji Miyaguchi, Minoru Chiaki
Studio: Homevision
Category: Video
List Price: $34.95
Buy New: $7.76
You Save: $27.19 (78%)
New (9) Used (19) Collectible (3) from $2.64
Rating:  457 reviews
Sales Rank: 12983
Format: Black & White, Subtitled, Ntsc
Languages: English (Subtitled), Japanese (Original Language)
Rating: Unrated
Media: VHS Tape
Number Of Items: 2
Running Time: 141
Shipping Weight (lbs): 0.9
Dimensions (in): 7.2 x 4.2 x 2.1
ISBN: 6302969352
UPC: 037429068335
EAN: 9786302969351
ASIN: 6302969352
Theatrical Release Date: November 19, 1956
Release Date: June 16, 2000
Availability: Usually ships in 1-2 business days
Condition: cover is different than shown -- released by Embassy as part of their International Collection, Brand new -- sealed in factory shrinkwrap
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Amazon.com essential video
Unanimously hailed as one of the greatest masterpieces in the history of the motion picture, Seven Samurai has inspired countless films modeled after its basic premise. But Akira Kurosawa's classic 1954 action drama has never been surpassed in terms of sheer power of emotion, kinetic energy, and dynamic character development. The story is set in the 1600s, when the residents of a small Japanese village are seeking protection against repeated attacks by a band of marauding thieves. Offering mere handfuls of rice as payment, they hire seven unemployed "ronin" (masterless samurai), including a boastful swordsman (Toshiro Mifune) who is actually a farmer's son desperately seeking glory and acceptance. The samurai get acquainted with but remain distant from the villagers, knowing that their assignment may prove to be fatal. The climactic battle with the raiding thieves remains one of the most breathtaking sequences ever filmed. It's poetry in hyperactive motion and one of Kurosawa's crowning cinematic achievements. This is not a film that can be well served by any synopsis; it must be seen to be appreciated (accept nothing less than its complete 203-minute version) and belongs on the short list of any definitive home-video library. --Jeff Shannon
Description
This extraordinary tale of adventure, romance, humor, and suspense has been hailed by critics worldwide as one of the best films of all time. A peasant village hires seven medieval mercenaries to defend it from marauding bandits. When the samurais arrive, a spectacular series of battles begin in which a splendidly mobile camera seems to be everywhere: shooting through foliage, rainstorms, dust, and wind. Toshiro Mifune's performance is ferocious as an overzealous and loudmouthed would-be samurai. He is complemented by the wise, veteran warrior played masterfully by Takashi Shimura. The inspiration for the Hollywood Western The Magnificent Seven, Kurosawa's classic explores the timeless themes of personal bravery and the resilience of the human spirit.
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| Customer Reviews: Read 452 more reviews...
 A Towering Classic Desecrated by Translator Linda Hoagland November 10, 2008
2 out of 4 found this review helpful
For discriminating film fans, I strongly recommend seeking out older, more nimble translations of Kurosawa's "Seven Samurai," to compare against this latest version by Criterion Collection.
Unfortunately, Linda Hoagland's English translation in this version does a grave disservice to viewers and to the filmmakers who created this cinematic masterwork. Throughout the film, Hoagland's translation manages to be at near complete odds with the tone, nuance, subtle yet bracing eloquence, even humor, of Kurosawa's epic drama. (Incredibly, she even makes English sound horrible. She has no sense of cadence, absolutely NO EAR FOR ANY LANGUAGE.)
She also demonstrates a woeful inability to grasp and therefore convey the essence of the film's characters. Simply horrible. As a result, the translated words and expressions of the film's characters seem to be from an altogether different time and culture than the one depicted by Kurosawa and his collaborators, with the characters feeling disembodied and alienated from themselves, each other, and the film itself. This is truly regrettable, because it leaves first-time viewers, especially, with misimpressions of the film on so many levels.
Absent any lingual finesse, Hoagland's translation assumes such gross and indelicate liberties with the dialog, period setting, culture, and characterizations that it grates miserably against the very beauty and power and heart and spirit of this magnificent film -- quite an ignominious feat. It also evidences the power of language in cinema, but in the worst way. One winces to think that Kurosawa-san, et al, are turning in their graves at Hoagland's single-handed insult.
By extension, Hoagland's translation also undermines the greater emotional impact and experience of the film in its larger import as allegory. In doing so, she undercuts the filmmakers' attempt to convey a particular, imaginative vision of the Japanese people's experience of their history, culture, and struggle for individual and national identity amid the rapid onset of changes and complexities in the 20th century, relative to the country's feudal and rural past.
For this, Hoagland and Criterion Collection should be held accountable for this expediently crass, "contemporary" translation. How was such unmitigated butchery of this truly phenomenal film allowed to happen? To bonafide cineastes, this is unbelievable... maddening... and yet more evidence of the continually spiraling dive in U.S. standards of quality and fidelity to cinema as cultural document and art form. In this light, Ms. Hoagland's translation in this Criterion Collection version merits nothing but disdain.
Despite the technical quality of this print, any purchase of this DVD only encourages more of the same abysmal standards. The degree to which Hoagland's translation ruins the film, at least for some of us, far outweighs ANY negligible shortcoming in the print of previous versions. Indeed, compared to the absolutely horrid effect of her translation, any print differences are secondary and nearly indistinguishable in terms of the film's emotional and artistic impact -- which is absolutely inextricable from the language.
It's the MEANING of the film's narrative that most matters. And, for those of us who know of what we are speaking and who respect the poetry of language and culture, the effect of Hoagland's interference with that experience is analogous to razor blades across the eye (no insult to Bunuel intended), or acid thrown on bare skin. Hers is a most dubious achievement: "outdoing" the masterful hand of Kurosawa, et al, with one swipe of a translation. (I believe Ms. Hoagland is also responsible for the English translation of a "Cowboy Pictures" distribution/DVD of this film, from several years ago, wherein she also evidenced her execrable ineptitude at some of the most critical, moving moments of the film, but not nearly as egregiously as here.)
Hopefully, however, the rich and insightful work of authentically capable, intellectually astute, and keenly sensitive scholars, translators, and critics (from around the globe) will, in time, come to prevail over the rampant distortions and faux "authority" of those persons undeserving of the task.
At present, there is, for example, the brilliant auteur director Kitano Takeshi -- who is too independent (he owns his own film production company), smart, savvy (and still alive) to allow his work to become the botched object of abject English translation. Or, so, one would hope.
 You don't know the meaning of EPIC or cinematic ART until you watch a film like this one... October 11, 2008
You've watched films like The Lord of the Rings and The Matrix and you think they are some of the most brilliant, epic and artistic films you might have seen. But I have a question to ask you, have you seen Seven Samurai?
If you haven't, then you have yet to know the true meanings of EPIC or cinema ART. Do yourself a favor and watch this breath-taking film! The story is rather simple - a village becomes threatened by a swarm of Bandits and the farmers decide to hire Samurai to help defend their village as the Bandits begin their assault. But the depth of the film, is astonishing! What then becomes in the first hour, a great structure of story and character building, when finally the remaining hour is filled with breath-taking action sequences that you've never quite seen before in a movie. Not to mention the fantastic music. This is a movie I can watch over and over, because this is a great example of a REAL movie!
Hands-down one of the greatest films ever made. A true film about honor, bravery and sacrifice.
 Surprising Charm In Masterful Epic September 26, 2008
"Charming" is perhaps the last adjective one would expect to hear in connection with an old black-and-white samurai movie. But at every turn, from Gorobei's jesting response to the initial test set for him by Kambei, to Kambei's joking at the expense of the freshly de-flowered Katsushiro before the final battle, this movie shows an easy, earthy, sense of humor. This care, this willingness to psychologize each character, saves this movie from the pitfalls of most "battle epics."
Yet, Kurosawa's technique is not less exalted in the action sequences. If you are familiar with "Ran", or "Throne of Blood," you are aware that he is the master of the big, wide-screen shot of massed cavalry advances. In "Ran," for instance, the battles outside of Hidetora's castle, with the washes of orange and pink, are masterful, painterly filmmaking.
Here, the battle scenes are of a more claustrophobic nature, and all the more dramatic, as a result. The mounted bandits are shown vying at close quarters with the farmer pikemen in a grisly kaleidoscope of straining arms, tendons, hooves, spears, swords. For those who would criticize the action sequences of "Seven Samurai," the following question is in order: which puts more of a demand on the imaginations -- the "suspension of disbelief" -- of its viewers? A slick, cartoony CGI combat sequence (cf, "Star Wars," "The Matrix", "The Hulk"), or sharp-focus photography of actual stuntmen simulating 16th-century combat?
Ultimately, Kurosawa is able to strike a perfect balance between breadth of vision, and sharpness of focus. In doing so, he creates a full, but sharply-detailed universe for the action to unfold in.
The Peasant and the Sword September 23, 2008
1 out of 1 found this review helpful
Words fail to praise the action-packed period film that Akira Kurosawa created in 1954 Japan. Two years after the allies released the Japanese from occupation, Kurosawa directed the best film ever, in my opinion, for those that desire evil to be overthrown and justice to prevail. The plight of the peasants is graphically detailed in breath-taking scenes of beauty and poise. Coming to their aid is the most virtuous samurai in film history, ready at a moment to battle the bandits that would rob, rape, and murder the helpless peasantry. The camera angles and positioning are excellent beyond belief, the costumes are real, and the mud is thick for the final battle scene. Any movie fan that doesn't have the recent Criterion Collection Seven Samurai is missing out on a classic. Honor, loyalty, skill, and faith come alive on the screen in 17th century Japan.
Fantastic September 17, 2008
Some films do get better with repeated viewings. Akira Kurosawa's 1954 black and white film Seven Samurai (Shichinin no samurai) is one of them. It was well deserving of winning the 1954 Venice Film Festival's Silver Lion, as well as the two Academy awards it won for Best Art/Set Decoration and Best Costume Design. On a first view it's simply a great action film, but with subsequent viewings the finer points of characterization come through in each moment, seeping into the mind subliminally and purposefully. The story, at nearly three and a half hours in length- including a five minute intermission, is never weighted down with fat, as all of the many subplots bear fruit- so unlike most films made in Hollywood today. It became an international sensation, and the highest grossing Japanese film of its day.
Yes, there are remnants of the stale samurai genre, such as the wise man Kambei Shimada (Takashi Shimura), and the `boy on the verge of manhood' in Katsushiro Okamoto (Isao `Ko' Kimura), and his romance with farmer Manzo's daughter Shino, but the central human dilemma of the 16th Century farmers who are helpless against the depredations of the bandits, who abound during the civil wars of the era, raises the film above mere cliches. We only see the bandits at the beginning and end of the film. There are about two hours where the meat of the tale takes place, and not a bandit is in sight. How many films do away with their bad guys for so long? How many could afford to? Since we do not know any of the bandits' names, they are more like a singular character, or a sheer force of nature. Why do they keep coming to attack the villagers, even as their forces are successively thinned with each failed raid? They must realize that the once helpless villagers have hired defenders? There is no Darth Vader among the bandits, despite George Lucas's latter-day attempts to cite this film as an influence for his banal and downright puerile Star Wars saga. We also learn that the villagers are neither as poor nor innocent as they portray. There are murderers amongst them, who have killed samurai before. They also seek to lowball and underpay their protectors.... It is a truism that almost all great directors have at least one great collaborator. With Ingmar Bergman it was his cinematographer Sven Nykvist. With Federico Fellini it was his musical scorer, Nino Rota. But with Kurosawa it's not only great stars like Mifune and Shimura, but his co-writers, Shinobu Hashimoto and Hideo Oguni- part of a rotating staff of writers that muted some of Kurosawa's own admitted over the top tendencies in storytelling, and brought the tale down to a human level. Without them the film may have been little more than a greatly stylized genre film, rather than a great film, period.
The cinematography Asakazu Nakai, and score by Fumio Hayasaka are also very good, although this is an actor-driven vehicle. Nakai's deep focus techniques- at the time cutting edge, are every bit as good as those in Citizen Kane. Especially, look at the complexity of the many crowd scenes, where many little stories play out as we watch the foregrounded action of the samurai. Things like this are only gotten on repeated viewings, and with my second viewing I picked up much more than on a first glance, especially while not having to read the subtitles. And look at how jungle twigs seem to leap out at the viewer, as does Mifune's huge phallic sword as he slings it over his shoulder. The whole film was shot in a 1.33:1 aspect ratio, so one wonders what Kurosawa would have done with this film in widescreen.
There's no doubt that Seven Samurai is a great film, and with its length and complexity it will only grow in my estimation as I view it more and more over the years. Of that I'm sure. But, that said, I do not think that it is Kurosawa's best film. I'd still lean toward Ikiru for that honor- for it's simply the more deeply human tale, and Shimura is even better in his role as Watanabe the doomed bureaucrat than as Kambei the indefatigable warrior. However, this is the granddaddy of all great action films, from Sam Peckinpah's The Wild Bunch to even James Cameron's films like Aliens or The Terminator series, as well as a great bildungsroman for Katsushiro. It also struck me, as the film opens to drumbeats, how reminiscent this film's opening is to that of my beloved Godzilla- a film that was released in the same year, with the footfalls of the monster dominating a black screen filled with credits. While Godzilla is nowhere in a league to Seven Samurai as a film, it is the second most influential Japanese film of all time. That both rely on such primal sounds in their openings makes one wonder if there's a connection.
Yet, the thing that Seven Samurai has that few other films do is its incredibly detailed richness. From the bad skull caps the male characters wear, to the ambush tests Kambei devises to recruit his cohorts, to the old woman who goes to kill a hobbled bandit with a farm instrument- to avenge her son's death, and many others; all of these and more make repeated viewing a necessity to truly appreciate this film, for all of these things are non-essential to the basic plot, even as they heighten the realism of this unreal tale. Let me end by stating that Seven Samurai is every bit as good, and great, as its greatest champions claim, and I ask you, how rare a thing is that?
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