🎦 Seven Samurai full movie HD download (Akira Kurosawa) - Drama, Action, Adventure. 🎬
Seven Samurai
Year:
1954
Country:
Japan
Genre:
Drama, Action, Adventure
IMDB rating:
8.7
Director:
Akira Kurosawa
Takashi Shimura as Kambei Shimada
Toshirô Mifune as Kikuchiyo
Yoshio Inaba as Gorobei Katayama
Minoru Chiaki as Heihachi Hayashida
Daisuke Katô as Shichiroji
Isao Kimura as Katsushiro Okamoto
Yukiko Shimazaki as Rikichi's Wife
Kamatari Fujiwara as Manzo, father of Shino
Yoshio Kosugi as Mosuke
Yoshio Tsuchiya as Rikichi
Kokuten Kodo as Gisaku, the Old Man
Storyline: A poor village under attack by bandits recruits seven unemployed samurai to help them defend themselves.
Type Resolution File Size Codec Bitrate Format
720p 960x704 px 7680 Mb h264 4829 Kbps mkv Download
Reviews
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
2003-01-31
"I'd hate to die on that dunghill"
This is Kurosawa's best known and most beloved film, and rightly so.

Seven Samurai has been called the first modern action movie. That's a matter perhaps more of definitions than anything else, but whatever the case this is certainly a film in which literally physical action is important. Kurosawa's use of movement, always an important element in his pictures, is here brought to perfection. Actors pop in and out of the frame, dynamic edits are used for emphasis, and scenes often begin with a burst of action. For Kurosawa this type of construction is not just about creating an exhilarating action picture; the movement is also symbolic of life, vitality and irrepressibility and this is central to the picture.

Kurosawa constantly dealt with the conflict between an individual's true value and the constraints of their social status. One of his greatest achievements is revealing the humanity in the most unassuming of people. In Ikiru (1952) Kurosawa had done this as a single character study, turning a middle-aged fuddy-duddy into a hero, but Seven Samurai is an even fuller statement of the notion. First off we have peasants who refuse to accept nasty, brutish and short lives. Then we have the Samurai. Jobless ronin, already considered the scum of feudal Japan, who accept the ultimate humiliation in being employed by peasants rather than a lord. Both peasants and Samurai are changed by their experiences, and shown to be greater people for it. And at the centre of this humanist theme is Kikuchiyo – a man of peasant stock who pretends to be a Samurai. Nothing can change the lowlyness of his birth, but he becomes one of the seven by the way he acts.

It's also worth remembering that Kurosawa was a maverick in Japanese cinema, and if he was pointing the finger of one hand at social ills, he was generally pointing the finger of the other hand at his contemporaries in the industry. Just as Seven Samurai tears into Japanese conventions of hierarchy and duty, it also attacks the romanticised, portrayal of feudal loyalty and honour that ran through the Samurai genre. By the way, some knowledge of Japanese culture is helpful in understanding the significance of all this, particularly the status of the jobless Samurai, but it is not a necessity to enjoy the film.

In the way that his goal is to humanise his characters, Kurosawa is much like his idol John Ford, and Seven Samurai in fact shares a lot of ground with Ford's Stagecoach. What really strikes me about Seven Samurai however is the depth of characterisation. It is typical in Japanese cinema for there to be around ten central characters, as opposed to three or four in the average western film. But these characters are not simply pieces in a jigsaw puzzle – each has their own issues and their own journey to go on. Kurosawa takes his time in introducing the Samurai characters, with each getting their own very memorable first scene. The four or five peasant characters that we get to know are no less well-rounded and complex, but the way they are presented to us is very different. They instead gradually emerge from the mass of identical looking farmers. By the end we have as much respect for Rikichi and Yohei as we do for Kambei and Kyuzo.

There really is no single weak link in Seven Samurai. There is another great musical score Fumio Hayasaka, which manages to capture the diversity of tones in Kurosawa's narrative. The acting performances are all good, and the casting is spot on. Toshiro Mifune really gets to show off the breadth of his range. At times he is snarling beast like in Rashomon, but he later displays a deep humanity, ranting emphatically, making children laugh and breaking down in tears on more than one occasion. It's clear though that it was Kurosawa who really brought out the best in Mifune if you compare this to his performances in, for example, Hiroshi Inagaki's Samurai Trilogy (made around the same time), which are merely adequate.

I'd also like to briefly mention my favourite scene. It's the one where the peasants who live outside the village try to split from the program because their houses will be lost, and the Samurai stop them. It's the very heart of the film for me. Firstly, it explains the importance of working together. It also shows for the first time how the peasants have changed in comparison to those opening scenes. They have gone from a frightened rabble to being confident and organised. The final seconds of this scene are absolutely incredible in their framing and timing – we see the peasants standing proudly in line, the music swells up, Kikuchiyo straightens out the one crooked spear, the music reaches a climax, a gust of wind blows across the scene… and fade out. Brilliant.

Seven Samurai is a classic because it is one of the fullest, roundest and deepest films ever made. It is one of the few films that scores on every level – excitement, emotion, storytelling and sheer technical quality. It's a great achievement in itself to produce a three-hour plus film that is endlessly watchable and never dull. It represents the first peak in Kurosawa's career, and a high point for cinema as a whole.
2007-03-25
Mud Replaces the Splatter of Blood
I just saw a restored print of this on the big screen with newly translated subtitles. I had forgotten how long it was (with an intermission). It is more about slowly revealing the characters and saving the big action sequences for the end. I really enjoy the outdoor setting as well. I think I've mentioned it in other reviews, but there is something so beautiful about the forest. The hills surrounding the small village are magnificently captured, the wind blows, the dust is stirred up, and when it rains, the mud replaces the splatter of blood. The movie starts with a lot of slow steady drum beats for accompaniment and culminates with the rapid patter of sandaled feet and pounding hooves of the attacking bandits' horses.

The story takes its time as four peasants led by Rikichi (Tsuchiya) go to town to enlist the help of samurai for the defense of their village. Samurai are born into privilege, can read and write and enjoy leisurely arts, and are generally proud of their social standing and skill. They finally find the good-hearted and intelligent Kambei (Shimura). Two other samurai are watching Kambei too. Katsushiro (Kimura) is a young man who immediately has great respect for Kambei and requests to be his disciple. Kikuchiyo (Mifune) is boisterous and intrigued by the more clever man, but expects Kambei to give him respect and acceptance automatically. The other samurai are gathered once Kambei agrees to the peasants' proposal. Toshiro Mifune is such a treat when he appears again drunk, trying to claim upper-class lineage, and wildly trying to prove some skill to the other six who only laugh. Toshiro's performance might seem over done, he's such a ham. I couldn't accept his wildly different style when I first saw this movie, but I grew to love him. Having seen him in some others pictures by now, I was totally with him during this viewing. He adds much needed humor. The story continues slowly as Kambei leads a careful defense plan to protect the four sides of the village. Meanwhile, the villagers "piss and cry" at every little thing and try to learn from the samurai how to use spears to defend themselves. Katsushiro has a romantic subplot with Shino, one of the peasants' daughters. Backstories are revealed about a couple of the other peasants and about where Kikuchiyo came from. Finally the bandits attack! And Kambei methodically checks off the chart on his map as they lessen the bandits' numbers. It's a very controlled, but impressive, and close battle as the villagers fight for their lives with the strategic leadership of the samurai.
2014-11-29
Might be the greatest film ever made.
It's difficult to describe Seven Samurai because firstly it's a movie that is best experienced knowing nothing about it. Secondly, because it's so packed with things to talk about it's difficult to know where to start.

The slow beginning and ridiculously long run time might turn some viewers off, but with enough patience you'll be rewarded with a rich, nuanced experience that few other movies can match. The film uses this slow, deliberate pace to flesh out the characters and explore the world in which they live until you're completely sucked in and invested.

The camera work is fantastic, with every single shot being perfectly blocked, composed and lit. The costume and set design are all so perfect that you think you've just stepped into feudal Japan. The acting from the entire cast is amazing and the action scenes are superbly epic.

The characters are all well fleshed out (some more than others) and you root for all of them throughout the film. The themes are heavy and dramatic: honor, romance, the selfishness of human nature, deconstruction of the samurai myth. The movie might also have the greatest climax of any film in history, perfectly paying off the last three and a half hours you just spent sitting in your chair.

Seven Samurai is a masterpiece of filmmaking and is everything a movie should be: simple but complex. Entertaining yet not shallow. Funny and dramatic. Action-packed, yet slow. It's one for the ages that should've be missed.
2017-11-03
I can see why it's a classic, but..
Undoubtedly, the director was way ahead of his time with The Seven Samurai. I can appreciate it, really i can. The problem for me is that for me it is just a little too dated. If I watched this back in 1954, it would have been a 10/10, but unfortunately some of us have higher standards these days.

The picture is pretty grainy, and the soundtrack adds tedium to the lengthy build up that precedes the final battle. Some of the acting is a little over the top to be plausible, and it's hard to have any sympathy for the villagers who are just a bit too cowardly to be worth saving.

I know it's one of the world's great movies, and the majority of viewers will love it, but I can't see myself watching it again in a hurry.
2011-06-26
Most overrated movie of all time
This movie is routinely rated as one of the top 10 movies of all time. Now that is a tall order so I decided to rent it, and I don't remember the last time I was more disappointed with a movie.

The movie is around 3hours long. The storyline is highly predictable and the characters are cliche. The action sequence are the lamest of any movie you will ever see. I think I have seen 10 year olds fight more fiercely than the characters of the film.

The photography is choppy and the storytelling is very deliberate. Considering the plot is extremely simple, it is agonizing to watch the plot unfold into its most obvious conclusion.

The conclusion of the movie, you guessed it, is that the 7 Samuraris saves the day by defeating bunch of bandits. As far as characters, there is the tough guy, intellectual guy, leader guy, rich guy, drunk guy, skilled fighter guy, and the coward guy. They are the Samurai equivalent of the Seven Dwarfs or N'Sync.

Magnificent Seven, which is the western copy of this movie, is way better, and that film is no where near a top 10 movie.

2004-01-21
Great stuff by often drags.
You want Samurai? We've got seven of them and they're all recognisable and nuanced in their own memorable way. As a side-note, I literally just looked up what the plural of the word Samurai was because I just wasn't sure. The embarrassing thing is that I really should have been sure considering I spent three and a half hours watching a film whose title has the pluralised form of Samurai displayed for the world to see. Clearly, I am not an observant person.

I am not opposed to films being long as long as all the scenes within them at least seem necessary to the plot and characters. When your film has a black screen that says, 'INTERMISSION' on it, it's safe to say that you are pushing it a little. With a run time of 206 minutes Kurosawa's epic lives up to that weighty noun. While I could criticise it for being over-bloated, almost all the scenes were necessary to making the film what it is.

The film has three long phases. The first phase is the formation of the titular Samurai boy band of death in their quest to protect a village of farmers from a barrage of bandits. Each of the characters has ample screen time devoted to them (which considering the amount of time available to assign). They are all full to brim with character; an important trait when considering the film is pre-colour. With the power to use colour to immediately recognise the characters stolen from the film, it is forced to use physical mannerisms to show which character is which at a glance… that and silly hairstyles.

I have never really understood Japan to its full extent and hopefully never will. Throughout the film, the statuses, jobs and relationships of farmers and Samurai are given. It was made very clear exactly the context of these historical occupations and how they interact with one another. I always thought that Samurai were the knights of feudal Japan. It seems, however, that they are more akin to today's mercenaries. The way that the contextual statuses are woven within the film adds to how believable the film is. I was taken by how little these characters seemed like actors playing roles and rather actual Samurai.

It is important to mention the runtime once more. I know I may be lingering slightly but so did the movie so take it up with Akira Kurosawa. I you were using this review as a recommendation and weren't expecting a gargantuan epic; I honestly couldn't recommend this film to you. While it was an enjoyable story, it is not a film that I will ever willingly return to. There are huge pacing issues making the film often drag a black and white cinematic parachute.

I would recommend you watch this film once. Mainly so that you can show off that you watched a 3+ hour film that isn't any of the Hobbit films (this is a much better film than any of those). The characters are some of the best put on film in history and the story is dense with plot. However, it did very well to deter me from a second viewing.
2015-05-17
Complex Beauty
Donald Richie thought it was Kurosawa's finest, and suggested that it might the best Japanese film ever made.

It is a film that rewards casual viewing and careful viewing and repeated viewing and viewing over time. Isn't that rather like a wonderful book, that rewards you every time you pick it up? I suppose that is the definition of greatness.

How was this greatness achieved? (This is not a rhetorical question. It truly astonishes me how this film creates meaning...cutting across all boundaries of nationality, language, and culture to become a meaningful personal experience for those who view it). This creation of greatness may be a mystery, but we can point to the some features of the film's excellence:

The artistic achievement: The music, the cinematography, the extensive set design, the editing and the acting in the service of a moving story all conspire to create a world that becomes ours on a deeply personal level. It is a film which influences later films and filmmakers.

The narrative achievement: Based on an original concept of Kurosawa's which began as a "day in the life" documentary of a samurai's existence, Kurosawa developed the idea into this breathtaking film of samurai who save a village. This simple but complexly nuanced human story involves us in different social classes in an historical framework. We come to know individual peasants and samurai, and feel that we know significant things about them, their motivations, hopes and fears.

The achievements of the actors: These are characters you will love, people you need to have in your life: the characters of Kyuzo, Heihachi and the unforgettable Bokuzen Hidari as a bewildered peasant..! Takeshi Shimura, as the leader of the samurai, Gambei, is the embodiment of wisdom, and calm in the storm. And, saying that Toshiro Mifune has star power is like saying the noonday sun sheds a little warmth.

Toshiro: It's the cut of his jawline when he asks the village patriarch, "Got a problem, grandad?", and the most charming look of confusion and embarrassment playing over his face when he is told by Heihachi that he is the triangle on the samurai flag. It's his energy, speed and agility and power and intelligence. Mifune sniffing out the fuse of a gun in the woods, bouncing through the brush half-naked in an abbreviated set of armor, or carrying his ridiculously oversize sword on one shoulder, Mifune crying over a baby, and the incomparable scene of his embarrassment that turns to rage when Mifune accuses the samurai of creating the farmer's condition.

Toshiro Mifune represents with extraordinary physicality the spirit of a man desperate to prove his worth: Mifune's got the animal sexuality, the physical response to emotional situations, the expressive face, the humorous and varied vocalisms to make us feel deeply what his character experiences: his struggles, his growth.(His drunken burblings as the last "samurai" to audition are nothing short of hilarious, and his "fish singing" is eerie and funny, too...also the grunted "eh?" that he often uses to show confusion, and the "heh" of disgust..such wonderful sounds, and so expressive!) Mifune's acting is wild and alive, even more than 50 years after the film's original release.

Takashi Shimura: You will trust him with your life. His great, open heart, his mature calm, his honesty and compassion make him one of the greatest of all samurai on film.

Fumio Hayasaka's music: Kuroasawa was lucky to have such a brilliant composer as collaborator. Themes introduce characters, and the samurai theme is surprising and memorable. If you have viewed the film, chances are, the samurai theme is playing in your mind with just a mention of the music. Hayasaka's music is muscular and nuanced: creating humor, or a counterpoint to the action, or deepening our sympathy for and understanding of the characters.

Muraki's scenography: There is no doubt that the places shown in the film are real. The achievement of Kurosawa's longtime collaborator provide a real world for the action.

The filmography is ground-breaking: the multiple cameras, slow-motion and attention to light and composition make each frame worthy of an 8X10 glossy. How can individual moments of such beauty be sustained throughout the movement of the film? It is an astonishing feat. And, best of all, no image degenerates into interior design or vacuous prettiness...everything forwards the movement of the cinematic experience. When the film ends, we feel as if we have lived it!

It is with great respect and humility that I offer my thanks to the memory of Mr. Kurosawa. His great work leads us to treasure humanity and its struggles, to develop our own abilities to feel compassion, encourages us to try to make good choices, to be socially and morally responsible, to embrace life.
2006-01-17
One of the greatest movie classics of our time.
Being a young filmmaker, I am constantly trying to discover films that can teach me how to push the boundaries of my imagination. I also need to be inspired by the power of the human spirit. Furthermore, because of my struggles in the "business" of making film, I need to constantly be reminded of the poetry of making personal films even if they are epic by theme and nature.

Seven Samurai provides me with all of the above. A simple but beautiful story that contains some of the most memorable characters and character combinations I've ever seen in film. The characters are so rich that you could devote an entire movie to each of them.

I sat in awe as I watched it for the first time on a digitally restored version on DVD. Criterion did an amazing job in its restoration of the film. If you ever get a chance please watch it on DVD, which contains a section which compares the original and restored versions. They showed a scene, which lasted no longer than a minute where they had to remove 3500 particles! The difference is amazing.

When I watch Mifune on screen I think immediately of Kurosawa. When I think of two of them it immediately brings to mind other great collaborations; Fellini and Mastroianni (and Masina); Bergman and Von Sydow; Scorcese and De Niro. It's rare when you have the greatest actor and director working together at their genius peak. It's almost as if the two were one leading their cinematic cavalries on film, and somehow, neither of them could have been as great on their own.

I also have to comment on Kurosawa's collaboration with his cinematographer Asakazu Nakai. Even though the film is about the outcastes of the time, their camera captures the poetic beauty of humanity and nature working together.

I went to Japan last year and I am now ashamed that I didn't visit Kurosawa's grave. I am indebted to his contribution to cinema and his influence on my dream.

1999-04-10
A veteran samurai, who has fallen on hard times, answers a village's.
A veteran samurai, who has fallen on hard times, answers a village's request for protection from bandits. He gathers 6 other samurai to help him, and they teach the townspeople how to defend themselves, and they supply the samurai with three small meals a day. The film culminates in a giant battle when 40 bandits attack the village.

A veteran samurai, who has fallen on hard times, answers a village's request for protection from bandits. He gathers 6 other samurai to help him, and they teach the townspeople how to defend themselves, and they supply the samurai with three small meals a day. The film culminates in a giant battle when 40 bandits attack the village
2017-05-14
📹 Seven Samurai full movie HD download 1954 - Takashi Shimura, Toshirô Mifune, Yoshio Inaba, Seiji Miyaguchi, Minoru Chiaki, Daisuke Katô, Isao Kimura, Keiko Tsushima, Yukiko Shimazaki, Kamatari Fujiwara, Yoshio Kosugi, Bokuzen Hidari, Yoshio Tsuchiya, Kokuten Kodo, Takuzo Kumagaya - Japan. 📀
×