Shichinin no samurai (1954)

Director:

Akira Kurosawa

Writers:

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

Release Date:

19 November 1956 (USA)

Genre:

Action | Adventure | Drama | War

Tagline:

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

Plot:

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

Plot Keywords:

Samurai | Bandit | Farmer | Japan | Rice

Awards:

Nominated for 2 Oscars. Another 4 wins & 5 nominations

Cast

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)
Eijirô Tôno	...	Kidnapper
Haruko Toyama	...	Ginsaku's Daughter-in-law
Tsuneo Katagiri	...	Farmer in front of Gono
Kichijiro Ueda	...	Captured Bandit Scout
Jun Tatara	...	1st Coolie
Yasuhisa Tsutsumi	...	Farmer in front of Gono
Atsushi Watanabe	...	Bun Vendor
Toranosuke Ogawa	...	Grandfather of Kidnapped Girl
Yu Akitsu	...	Husband in Burnt House
Isao Yamagata	...	Samurai
Sojin	...	Blind Minstrel (as Sojin Kamiyama)
Gen Shimizu	...	Samurai who kicks farmers
Keiji Sakakida	...	Gosaku
Shinpei Takagi	...	Bandit Chief
Shin Otomo	...	Bandit second-in-command
Toshio Takahara	...	Samurai with gun (as Shuno Takahara)
Hiroshi Sugi	...	Tea Shop Owner
Miki Hayashi
Sachio Sakai	...	2nd Coolie
Akira Tani	...	Bandit
Sokichi Maki	...	Strong-looking Samurai
Haruo Nakajima	...	Bandit
Ichirô Chiba	...	Buddhist Priest
Noriko Sengoku	...	Wife of Gono Family
Fumiko Honma	...	Woman Farmer
Masanobu Ôkubo	...	Samurai
Etsuro Nishijo	...	Samurai
Etsuryo Saijo
Minoru Ito	...	Samurai
Hideo Shibuya
Kiyoshi Kamoda	...	Samurai
Senkichi Ômura	...	Bandit who escapes
Takashi Narita	...	Bandit who escapes
Shoichi Hirose	...	Bandit
Koji Uno	...	Bandit
rest of cast listed alphabetically:
Hiroshi Agetsu	...	Gono Husband
Ryutaro Amami	...	Bandit
Goro Amano	...	Farmer
Shizuko Hogashi	...	Farmer's Wife
Tazue Ichimanji	...	Woman Farmer
Toku Ihara	...	Farmer
Kaneo Ikeda	...	Samurai
Kazuo Imai	...	Farmer
Hisaya Ito	...	Samurai wandering through town
Koji Iwamoto	...	Farmer
Kyoichi Kamiyama	...	Farmer
Shigeo Kato	...	Farmer
Masayoshi Kawabe	...	Farmer
Michiko Kawabe	...	Farmer's Wife
Ippei Kawagoe	...	Farmer
Yoshikazu Kawamata	...	Farmer
Akira Kichoji	...	Farmer (as Akira Kichijoji)
Yayoko Kitano	...	Farmer's Wife
Fumiyoshi Kumaya	...	Ginsaku's Son
Akio Kusama	...	Bandit
Masahide Matsushita	...	Samurai
Jun Mikami	...	Bandit
Sanpei Mine	...	Farmer
Keiko Mori	...	Farmer's Wife
Kyoji Naka	...	Bandit
Eisuke Nakanishi	...	Farmer
Toshiko Nakano	...	Farmer's Wife
Junpei Natsuki	...	Farmer
Hideo Oe	...	Farmer
Yasuo Onishi	...	Farmer
Matsue Ono	...	Woman Farmer
Masako Oshiro	...	Woman Farmer
Hideo Otsuka	...	Farmer
Keiko Ozawa	...	Woman Farmer
Haruya Sakamoto	...	Samurai
Kyoro Sakurai	...	Samurai
Takeshi Seki	...	3rd Coolie
Megeru Shimoda	...	Farmer
Seiji Sunagawa	...	Bandit
Misao Suyama	...	Woman Farmer
Jiro Suzukawa	...	Farmer
Kazuo Suzuki	...	Farmer
Toriko Takahara	...	Woman Farmer
Yuko Togawa	...	Farmer's Wife
Kamayuki Tsubono	...	Bandit
Tomeko Umayato	...	Woman Farmer in front of Gono
Michiko Uwamoto	...	Farmer's Wife
Akira Yamada	...	Farmer
Tatsuya Nakadai	...	Samurai wandering through town (uncredited)
Kaneyuki Tsubono	...	Bandit (uncredited)
Ken Utsui	...	Samurai wandering throuth town (uncredited)
Ren Yamamoto	...	Farmer (uncredited)

Directed by
Akira Kurosawa

Writing credits
Akira Kurosawa		(screenplay) &
Shinobu Hashimoto		(screenplay) &
Hideo Oguni		(screenplay)

Produced by
Sôjirô Motoki	....	producer

Original Music by
Fumio Hayasaka

Cinematography by
Asakazu Nakai

Film Editing by
Akira Kurosawa

Production Design by
Takashi Matsuyama

Costume Design by
Kôhei Ezaki
Mieko Yamaguchi

Makeup Department
Midori Nakajo	....	hair stylist
Junjiro Yamada	....	hair stylist

Production Management
Hiroshi Nezu	....	production supervisor

Second Unit Director or Assistant Director
Sakae Hirosawa	....	assistant director
Hiromichi Horikawa	....	chief assistant director
Toshi Kaneko	....	assistant director
Masaya Shimizu	....	assistant director
Yasuyoshi Tajitsu	....	assistant director

Art Department
Kôhei Ezaki	....	art consultant
Koichi Hamamura	....	property master
Yoshirô Muraki	....	assistant art director

Sound Department
Ichirô Minawa	....	sound effects editor
Masanao Uehara	....	sound assistant
Fumio Yanoguchi	....	sound recordist

Camera and Electrical Department
Masao Fukuda	....	still photographer
Mitsuo Kaneko	....	assistant lighting technician
Shigeru Mori	....	lighting technician
Takao Saitô	....	assistant camera

Editorial Department
Hiroshi Nezu	....	editing manager

Music Department
Masaru Satô	....	assistant to composer

Other crew
Shigeru Endo	....	instructor: horseback archery
Kôhei Ezaki	....	folklore researcher
Yuji Hamada	....	accountant
Ienori Kaneko	....	archery instructor
Toshio Nakane	....	acting office
Teruyo Nogami	....	script supervisor
Takeharu Shimada	....	production assistant
Yoshio Sugino	....	swordplay instructor

Production Companies

• Toho Company

Distributors

• Toho Company (1954) (Japan) (theatrical)
• Columbia Pictures (1956) (USA) (theatrical) (subtitled)
• Public Broadcasting Service (PBS) (1972) (USA) (TV) (US network premiere)
• AVCO Embassy Pictures (1982) (USA) (theatrical) (re-release)
• Films Incorporated (1982) (USA) (theatrical) (re-release)
• Janus Films (1982) (USA) (theatrical) (re-release)
• Landmark Films (1982) (USA) (theatrical) (re-release)
• Embassy Home Entertainment (1987) (USA) (VHS)
• Criterion Collection, The (1989) (USA) (video) (laserdisc)
• Criterion Collection, The (1991) (USA) (video) (laserdisc)
• Criterion Collection, The (1998) (USA) (DVD)
• Cowboy Pictures (2002) (USA) (theatrical) (re-release)
• Toho Company (2002) (Japan) (DVD)
• Shoval Film Production (2003) (Israel) (theatrical) (re-release)
• Bright Angel Distribution (2004) (Netherlands) (theatrical) (re-release)
• Madman Entertainment (2004) (Australia) (DVD)
• Total Film Home Entertainment (2004) (Netherlands) (DVD)
• Total Film Home Entertainment (2004) (Netherlands) (VHS)
• Nihon Eiga Satellite Broadcasting (2007) (Japan) (TV)
• Asociace Ceských Filmových Klubu (ACFK) (2009) (Czech Republic) (theatrical) (subtitled)
• Atlantic Film (2002) (Sweden) (theatrical)
• Cinédis (1955) (France) (theatrical)
• Jaguar Film (1965) (Sweden) (theatrical)
• Rosenbergs Filmbyrå (1965) (Sweden) (theatrical)
• Studio 43 (????) (France) (theatrical) (re-release)
• Svenska Filminstitutet (SFI) (2002) (Sweden) (theatrical)
• Television och Smalfilm (1965) (Sweden) (theatrical)
• Continental Home Vídeo (????) (Brazil) (DVD)
• Criterion Collection, The (2004) (USA) (DVD)
• Criterion Collection, The (2009) (USA) (DVD)
• Sandrews (2007) (Sweden) (DVD)
• Tocantins (????) (Brazil) (VHS)
• Toho Video (1996) (Japan) (VHS)

Other Companies

• Toho Genzosho  video editing

Also Known As:

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

Runtime:

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)

Country:

Japan

Language:

Japanese

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono

Certification:

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

Company:

Toho Company

Trivia:

Early in the writing process, six of the samurai were conceptualized, all loosely based on historic figures. Originally Toshirô Mifune was meant to play Kyuzo, the extremely stoic master swordsman. However, Kurosawa and his collaborating writers decided that they needed a character they could more identity with who wasn't a fully-fledged samurai, so Kikuchiyo was created. Since Kikuchiyo didn't have a historic basis, Mifune was allowed, for a Kurosawa film, to do an unprecedented amount of improvisation in the part.

Goofs:

Anachronisms: 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.

Quotes:

[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.

Movie Connections:

Referenced in Ma vie en l'air (2005)

Haven't you seen it yet?

Well, if you haven't seen Seven Samurai then you're not really qualified to call yourself a film fan, basically. One of the most influential movies of all time, that still holds up extremely well nearly 50 years later. Akira Kurosawa's epic tale of heroism and barbarism set the standard in so many ways it's hard to imagine that any modern film does not show its influence in some way or other. A great script, great characters, mostly great acting, splendid cinematography and action sequences that wrote the book about how these things should be filmed. Even now, after so many have tried to imitate or beat it, Seven Samurai remains a totally gripping 3.5 hour experience. Akira Kurosawa is one of the gods of Cinema - men who seem to have been born to make films, who have it in their blood. People like Alfred Hitchcock, Stanley Kubrick, King Hu and Steven Spielberg, who make it look easy... who so obviously "get it". In this pantheon, Kurosawa is perhaps the daddy of them all, however, and Seven Samurai is one of his finest moments. The scale of the production is remarkable - to undertake making such an epic in post-war Japan was a feat in itself. The cast of dozens of inhabitants of a village specially built for the movie, the 40 bandits and their horses, all the costumes, the armour, the weapons. Few directors could have brought all of this together and still paid such attention to the smallest of details in script and scene. Credit must go to the team Kurosawa worked with too, I presume The movie's setup became the template for many movies to follow, the most recentl example that comes to mind being the excellent Korean period movie MUSA (The Warrior), for example. A motley band of characters is assembled and placed in a situation where the odds are seemingly stacked against them, and each gets there chance to really shine, prove themselves and become something more than a normal man. Kurosawa's Samurai movies all share a little bit in common, which is the depiction of the Samurai as some noble beast, different from the common and pathetic rabble of ordinary man. In Seven Samurai the farmers are a base lot, cowardly, selfish, vain, pathetic and treacherous. How he found actors with such miserable looking faces is a mystery in itself. In contrast, the Samurai embody all the qualities that humanity would generally like to believe define it (us). Brave, righteous, honest, strong and heroic. Toshiro Mifune's character stands in the middle and represents this difference - perhaps meant to suggest that mankind can strive to rise above his flaws, but mostly suggesting to me that the common man is basically a mess and we should learn to respect our betters. Kurosawa was definitely not a socialist, unless I'm mis-reading him wildly. I'm sure many out there wonder, does a 50 year old black and white movie about Samurai really have any interest or relevance to us in the 21st century? The answer is a definite "Yes!". Seven Samurai shows us what cinema can be, what cinema is *meant* to be. It is moving picture as art in a way that the multiplex-fillers of today cannot possibly claim to be. It's a film that satisfies on many different levels, and still provides a bench mark which today's film makers could and should use to evaluate their own contributions. True, few out there will ever be able to claim they've made a film that rivals Seven Samurai in scope or beauty, but this *is* what every director should aspire to! The sad thing is, I just can't see a project like this ever coming out of the Hollywood studio system, where art is just another commodity and marketing is the new god