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As a immense fan of older films and music, I am very aware of the many attempts of studios and describe companies to reissue and re-market a previously released product in a recent and improved format. While many of these reissues are often reliable to their previously released counterparts, I have never been one to purchase into the “upgrades”. I feel that you don’t need to have the best sound, the crispest characterize, or the excess of supplemental materials in order to delight in a film and have it affect you. In all my years collecting music CD’s (particularly jazz) and DVDs, I consider I’ve upgraded no more than three items from my collections.

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I had been hearing for a while now about a current version of Seven Samurai coming out on Criterion that was supposed to have a imprint modern transfer from a recently discovered source that was to be greatly improved from any other previous edition. Being one of the most beloved films of all time (and one of mine as well), this has been creating alot of excitement in the world of film lovers. Being perfectly joyful with my version of the Seven Samurai DVD from 1998, I had no plans to upgrade, but a side by side comparison on an internet plot peaked my curiosity. And yesterday, being at a local retailer, I saw it on the shelf and decided to spring for it.

Let me disclose you….if ANY of you are on the fence about this one, particularly those of you who are gargantuan fans of this incredible film, I exclaim you to go for it. The inequity between this edition and the previous edition is so drastic that I could not fill my eyes and ears. I have never had this experience with a DVD before, but the improvements in report and sound quality are SO big that I actually felt like I was watching Seven Samurai for the first time. The clarity of the recount is absolutely incredible. The ravishing gloomy and white tones are powerful richer, but what’s most impressive is how nearly all the imperfections, scratches, and blemishes that were so prevalent on the previous edition have been removed. You can philosophize why this edition took so long to derive released….Criterion obviously took alot of time with this one. Their efforts paid off. Also, the sound has been greatly improved as well. Not only have they cleaned up the unusual mono soundtrack, but they’ve added a stereo surround track as well. Normally, I cringe at these “original and improved” soundtracks on obsolete films, but this track does not sound artificial at all, but rather more like an enhanced version of the mono track. The stereo surround track together with the fine recent relate made for a original experience watching the film. You are tranquil watching the large Kurosawa classic that you know and cherish, but at the same time it seems that even more life has been breathed into it. Didn’t assume that was possible for such a perfect film, but Criterion proved any doubter contaminated.

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Please support in mind that I haven’t even gotten to the bonus materials, the commentary tracks, nor the very blooming book yet. And there isn’t noteworthy more that I can say about this astonishing film that hasn’t already been said. Fair based on the presentation of the film itself in this modern package from Criterion, I would highly recommend to everybody who loves this film and is thinking about upgrading their version of the film, that you do so. Its pretty. And remember, this is coming from someone who doesn’t generaly care for “upgrades”.

Akira Kurosawa made “Seven Samurai” because he wanted to form a genuine “jidai-geki,” a actual period-film that would demonstrate the past as meaningful, while also being an attractive film. Kurosawa considered “Rashomon,” the film rightfully credited with making the West aware of the Japanese cinema, with being neither. But in his attempt to design a truly “realistic” film, Kurosawa redefined the conflict at the heart of Japanese films. Before “Seven Samurai” this conflict was that of treasure versus duty, where the central character is compelled by fate to sacrifice what he loves in the name of duty. In “Seven Samurai” the focus remains on duty, yet the conflict is now between the true and the pretended. Calling yourself a samurai does not acquire you one, something proven time and time again in the film, from the test of skill turned deadly between Kyuzo (Seiji Miyaguchi) and the astronomical samurai to the first appearance of Kikuchiyo (Toshirô Mifune), with his stolen pedigree. Like Katshushiro (Ko Kimura), the youngster who wants to learn from the master, Kambei (Takashi Shimura), the audience is educated as to the upright nature of the samurai.

For me this film deals with the bold, albeit in realistic terms. I have shown the film in World Literature classes, after students have read Homer’s “Iliad” and as they inaugurate reading Cervantes’ “Don Quixote.” Within that context, compared to the brutal arrogance of Achilles and the gentle insanity of Quixote, the doughty qualities of the seven samurai become certain. Their inspiration extends to some of the villagers. Manzo (Kamatari Fujiwara) is crazed with awe over the virtue of his daughter, Shino (Keiko Tsushima), and Rikichi (Yoshio Tsuchiya) fights to avenge the disgrace of his wife and his precipitating the death of Heihachi (Minoru Chiaki), but it is the humorous Yohei (Bokuzen Hidari), who finds within himself the ability to fight, a die a tragic death, who is the apt barometer for what the samurai mean to the village. But the greatest tragedy is that despite this most reliable grief and the bodies buried in honor at the top of the village cemetery, this has been but a temporary union between the villagers and the samurai. When Kambei declares, “We have lost again,” he redefines the battles: it was not to destroy all the bandits, it was to come by a legal status in the world. Yet we should have already known this, for the painful truth was driven home when Kyuzo, the master swordsman, is gunned down from gradual. No better proof is needed in this film of the bitter truth that the world is not delicate.

Mifune is the maniacal spirit of this film, as the faux-samurai Kikuchiyo, the dancing whirlwind whose emotions overwhelm everything including himself. But it is Shimura as Kambei, who embodies the mentor mentality with a minimum of worry, evoking more by rubbing his hand over his shaved head or giving a single piercing peer than by any spoken dialogue. Even in a strong ensemble these performances stand out, for clearly different reasons. To fully like Kurosawa’s mastery in “Seven Samurai” you need to study the film several times to better relish the method he constructs scenes, using contrasting images, evocative music and varying the length of cuts to affect tempo. For example, notice carefully at how the early scene of the farmers searching the streets for samurai and the later sequence where Katsushiro watches Kyuzo and Kikuchiyo waiting for the bandit scouts to return to their horses. Both of these scenes are good primers to Kurosawa’s style.

For years we had to place with the 160-minute version of the film that was made for export, which was actually called “The Fine Seven” until John Strugis’s Western remake. Fortunately, “Seven Samurai” has been restored to bulky 208-minute glory, saved from being a lamentable cinematic tragedy on a par with “Greed,” “The Fair Ambersons,” and “Ivan the Unpleasant.” There is a sense in which “Seven Samurai” is truly my current film, because it was the one that instilled in me a treasure of cinema, of the craft and art of movie making, of compelling me to understand intellectually how Kurosawa was skillfully manipulating my emotions. The final battle sequences, fought and filmed in a torrent of rain, exhausting characters and audience alike with its increasingly relentless tempo, is given its potency because of the human elements that have been established in all that has taken region before hand. “Seven Samurai” is a shapely film against which the immense majority of epics pale in comparison. Not even Kurosawa scaled these heights ever again.
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