🎦 Seven Samurai full movie HD download (Akira Kurosawa) - Drama, Action, Adventure. 🎬
Seven Samurai
Drama, Action, Adventure
IMDB rating:
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
Arguably, the best samurai film ever made
Though its biblical connotation is not the happiest one ("Seven Deadly Sins") number seven, omnipresent in our (7 days a) weekly cycles, seems to have been a lucky number in the world of cinema. Several very solid and some great movies have this number in their title, starting with gag-wise incredibly inventive Seven Chances (1925) from genius of silent era Buster Keaton, Frank Borzage's silent version of classic melodrama 7th Heaven (1927), Walt Disney's first feature-length animated movie, Snowhite and Seven Dwarfs (1940), recognized as an instant classic and remained so ever after, Stanley Donen's ear-pleasing, eye-riveting musical Seven Brides for Seven Brothers (1954), staged in western milieu, with an outstanding dance sequence, Ingmar Bergman's literally Death-defying, answers-to-reasons-for-human-misfortune-seeking masterpiece, Det sjunde inseglet ("The Seventh Seal") (1957), Billy Wilder's Seven Year Itch (1957), a clever and amusing first collaboration with incomparable Marilyn Monroe (a worm-up for their second, bigger if not decisive step in taboos-of-the-motion-picture-production-code-breaking, brilliant comedy Some Like It Hot (1959)), up to newer examples like David Fincher's disturbing drama Se7en (1995), one of the finest Hollywood movies of the 90's, as well as Tsui Hark's Chat Gim ("Seven Swords") (2005), a stunner in the department of action sequences from the often under-appreciated genre Wuxia, originating from Chinese literature.

However, even among such illustrious examples of movie-making par excellence, one movie holds a special place, Shichinin no samurai ("Seven Samurai") (1954) from the legendary Japanese director Akira Kurosawa. This movie doesn't seem to lack anything that an avid movie consumer, in particular samurai genre admirer, might be wishing for.

It is not easy to say anything new about the one of the most analyzed and scrutinized movies of the film history. Nevertheless, and despite being eventually only repeated, it shall be mentioned that movie has a simple but very engaging story - a group of peasants, representing a village, periodically stormed by gang of bandits, looting their crops and other possessions, hires several wandering ronins (masterless samurai) to help them protect the village - not without lucid observations on the possibility of social interaction between members of different classes during the almost seven centuries long feudal history (1185–1868) of Japan.

Characterization is excellent, and though having clear stand-outs in samurai's true leader, Kambei (Takashi Shimura), a wise tactician of the exceptional valor, as well as in the exuberantly uncontrollable Kikuchiyo (Toshiro Mifune), messy in its appearance and blustering in its manner, yet, a peasant descendant himself, making for a perfect link between the samurai and their employers, all other samurai are memorable, as well, sporting wide variety of personality traits. In joining the village protection campaign, hired for nothing more than a regular meal for as long as providing a service, thus primarily hoping to finally fill their starving stomachs, each one of them was driven by different additional motives, whether they were challenged to test their bravery, fighting skills and tactics, seeking for excitement and recognition, trying to regain pride and glory of the past days, just reaching out for that human touch (cross-class communication, even mere courtship promising relationship) they have been deprived of, or simply interested in its noble cause.

Together with true highlights in realistically choreographed battle scenes, showing all the pain and misery of excessive violence on the reverse of heroism, that even defenders cannot avoid resorting to, sadly announcing inevitable decline of the samurai and their ways exposed to new artless technology, unbecomingly dying ambushed by distant shots from the muskets, while ingloriously stuck in the village muds... it all makes for a compelling narrative.

Though triumphant in their common task to protect the village, unlikely alliance between samurai and peasants is ultimately doomed to fail. In the short run, it gives expected results, but in the long run, does not stand the chance. That is so loudly, although in fact silently, expressed at the end, when peasants don't even care to join the surviving samurai in their mourning over the fallen ones, not even giving the last well deserved respect to those who have helped them withstand fierce attacks, prevail and ultimately defeat bandits, and, in doing so, most of them given their lives. Peasants simply continue with their daily chores, while surviving samurai have to leave the village, like they have never existed, sadly symbolizing their ultimate destiny: slowly but surely stepping off the future pages of the history books.

Seven Samurai, the movie, is rightfully considered as the one that has redefined samurai film in its contemporary perception, and dawned almost two decades long string of successes, instantly becoming the brightest example of thus revived, uniquely provocative and entertaining sub-genre, unknown as such in the country of its origin, classified there within a broader genre, jidaigeki (a period drama, often describing events from pre-modern era of the Edo period, marking the governance of Tokugawa shogunate (1603-1868), relatively peaceful times for Japan's long history of civil wars, as opposed to gendaigeki, films treating contemporary matters), and by IMDb standards, as an action drama, occasionally historical, when based on real events.

Originating in the Edo-era Far East, it has inspired equally successful, star-studded (Y. Brynner, S. McQueen, C. Bronson, J. Coburn, E. Wallach, R. Vaughn, H. Buchholz, B. Dexter) Hollywood remake, The Magnificent Seven (1960), conveniently situated in the U.S. West of 19th century, as well as three lesser sequels, Return of... (1966), Guns of... (1969), and ...Ride! (1972).
my favorite.
I admit I am one of the younger generation that needs an I.V. of caffeine to avoid falling asleep when watching a black and white "classic" like Citizen Kane or Gone With the Wind.

I find the acting and general direction of those films boring and uninteresting.

Seven Samurai was a different story.

It has nothing to do with it being about samurai, this movie doesn't even have much violence till the very end of its 3½+ hours. Even the subtitles, which I am sure lost much in the translation, didn't bother me at all.

This movie lacks absolutely nothing. To sum up everything I love about it would take many paragraphs.

Next time someone tells you Pulp Fiction or Star Wars is the "Best Movie Ever", sit them down in front of Seven Samurai.

I only wish I was fluent in Japanese so I could experience this the way it was intended.
Mud and Rain and Conflict
This film is undoubtedly Kurosawa's masterpiece (no mean feat when one considers the opposition such as "Throne of Blood", "Ran" and "Yojimbo"). The film's story, construction, credible and engaging characters, and that perfect ending are assets that most directors would give their eye teeth for but Kurosawa also proves himself the most economically effective director of action scenes who puts Hollywood directors like Spielberg firmly in his place: the climactic scene where he shows only horses hooves and human legs rushing hither and thither in the mud and torrential rain is most effective in conveying both the ferocity of the conflict and the panic of the villagers, and serves to prove that imagination and invention will always triumph over computer-generated images.
Iconic influential movie
It's early 16th century and Japan is in the midst of civil wars. A poor village faces constant harassment from bandits. A villager overhears that bandits are planning to come back after the harvest. After a debate, the village elder proposes to hire samurai. The villagers have little to offer. They witness heroic ronin Kambei rescue a boy. Young Katsushirō is desperate to be his disciple. Kambei reluctantly agrees to help the villagers but he determines that the defense needs at least seven samurai.

This is simply one of the best movies ever. It is influential in so many other movies. The characters are funny and compelling. They are iconic in their simple characteristics. Modern audiences may find the over 3 hour running time a bit too long.
Best non-English film ever!!!
I had the pleasure to see this film in America sub-titled and in a Japanese theater in it's original uncut version. This movie gets better every time.

The action scenes are better than anything out there today and Kurosawa-san didn't have CGI to abuse.

It was incredible seeing this mismatched group of men band together to risk their lives for people they didn't really respect. Great character build-up, brilliant action, superb tension, and even some flashes of comedy. And it's one of the DEEPEST action films that ever existed.

It shows the duty the samurai dedicates himself to. That whether he likes it or not, there are some things he just MUST do.

3&1/2 hours long but it seemed like 1&1/2. How many films can honestly say that today? Never looked at my watch once.
"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.
With Seven, You Get a Masterpiece
Growing up, I thought of Japan as the home of anime and giant monster films. Then, while attending college, I saw "The Seven Samurai". I was proved wrong by this film, which is considered to be the magnum opus of celebrated filmmaker, Akira Kurosawa, by movie historians. They're right.

1587 is the year in Japan and the story's setting. Previously, the nation was ruled by a shogunate (the shogun being the Imperial Army's commander) with the emperor reduced to powerless figurehead. However, unavoidable civil wars came, caused by ambitious daimyo (local warlords), who wanted power, no matter what.

In this epic tale (co-written by Kurosawa, Shinobu Hashimoto and Hideo Oguni, all who worked Kurosawa's "Ikiru"), a poor, humble farming village and its' residents are constant victims of a bandit clan. Rice and sex are the group's goals, and they break carelessly the villagers' spirits. What to do? The local authorities are inept, and suicide, for a farmer, is giving up.

"We hire samurai," the village elder strongly suggests. A quartet of farmers, with a pillar of rice as payment, does that, employing seven individualistic but noble ronin (samurai without masters). There's Kambei (Takashi Shimura of the original "Godzilla" and other Kurosawa works), the valiant leader; Gorobei (Yoshio Inaba), a good second-in-command; Shichiroji (Daisuke Kato), a battlefield acquaintance of Kambei; Heihachi (Minoru Chiaki), an optimist; Kyuzo (Seiji Miyaguchi), a perfect killing machine; Katsushiro (Isao Kimura), a green, wet-eared boy and the unforgettable Kikuchiyo (famed Kurosawa player Toshiro Mifune), a wild dog yet perfectly human goofball. Together, they're a force of nature, bounded by courage, honor and self-sacrifice.

If you don't like a foreign, subtitled, black and white, three hours and twenty seven minute film, which "Samurai" is (and more), you need to be committed at once, post haste (I also adored "Grindhouse", which is sixteen minutes less). Under Kurosawa's direction, the film has a jackrabbit's pulse, a wolf's ferocity and a lamb's serenity. It's fascinating that both camps (samurai and farmer) learn from each other while fighting the enemy. Even two reps, despite their social standing (born in a role, die in a role) fall in love; the passion between Katsushiro and Shino (Keiro Tsushima), a young woman whose fool father has cut part of her hair to "protect her from the samurai", is subtlety passionate.

As the resident clown, Mifune's so idiosyncratically human, he's almost American, being no surprise that he influenced Clint Eastwood (The Man With No Name trilogy) and the late John Belushi (the samurai skits on "Saturday Night Live"; the Bluto role on "Animal House"). The battle scenes are fierce and kinetic; it's hard to distinguish whether this work is real or fiction, and that's what makes "Samurai" brilliant. The actors, besides Mifune, are great too, honest in their emotions.

What more praise can I deemed upon "Samurai", other than its' director has influenced the likes of Leone, Peckinpah, Scorcese, Lucas, Rodriguez, Miller, Tarantino, Cannell and others? It's just damn cool. The American western remake, "The Magnificent Seven", is reliable but comes short, if compared to "Samurai", being star-studded and Hollywood polished. Peckinpah's "The Wild Bunch" is a better, if unofficial, remake.

If you buy the three-disc DVD from Criterion (expensive but worth it), you'll be forever enchanted. Give some honor to "The Seven Samurai", and enjoy.
The Death of 4 Samurai in Iranian folklore Myths
The file is story of seven samurai that help weak farmers against bandits attacks for a intangible reason. No one knows why does some of those samurais come to the group.

There is a myth in Iranian's folklore myths has named "Chor_oghli". "Chor_oghli" is a hero in "Azerbayjan" (a Province of Iran), for first time when he familiarized with gun as a new killer weapon that could hurt from a distance, he said: "This is beginning of cowardice age." In this nice story all of 4 samurai were killed by GUN and in my opinion it is The most important point in "Seven Samurai" story. they were very skilled swordsmen, but they hadn't any idea about gun.

For these samurais morality and power are important Together.
Kurosawa can stay at home, for only having done this work summit and go into the annals of cinema. This fresco made on the history of feudal Japan and customs is more than a movie adventure. For nearly four hours, we dive in Japan like we were there, watching the battles, helping farmers, or looking samurai. A monument, a work of love of cinema, a perfect film.

The epic has printed the entire film is undoubtedly its great strength. Assuming that the adventure genre is single-minded and topic, this film already has a plus point. And in his feature film, Kurosawa shows a variety of characters. It gives you time to show us every corner of the samurai, but also of the vast majority of farmers. Kurosawa's intention is that, at the end of the film, we understand why each samurai has accepted the position of defending the peasants, and came to realize that none has the same reasons as the other. His characters are never flat, because we know its past, its present, and what they expect of the future with just a conversation. They are characters who live with their concerns, and a code, Bushido, marked by honor, courage and respect are based. And it is strange in an adventure film, because you could say that Kurosawa "put aside" action. And all this not to mention the extraordinary end the battle. A final scenes full of a truly Fordian lyricism, and that far exceed anything that sometimes mars a movie: a bad end.

But all this must be added the care that puts Kurosawa in Japan show as it was portrayed in the film. It seems almost cool, a photograph taken in the feudal Japan. All customs, feelings, and ideas of the time are reflected on the screen: misogyny, the cowardice of the peasants, samurai courage, friendship and honor, something important in characters filled with so much charisma.

And I no longer remains to talk about the direction of the teacher. Its direction is simple, pure, without cheap sensationalism to give more spectacular. Their intimate scenes are recreated in a lyrical way, but real at the same time, with battle scenes where we know at all times what is happening thanks to Kurosawa, like Master Ford, do not move the camera to not be necessary, based on the subtlety of telling the facts, as when rescue a child without knowing what happens. Without a frenzied assembly, always we know what happens, because it raises the choreography as a true samurai would plan the battle. And for this he had a unique cast, headed by his two favorite actors: Mifune and Shimura, reaching in this movie performing a supreme heights.
"If You Could Only Watch One Film In Your Lifetime...Look No Further."
A village is constantly attacked by well armed bandits. One day after an attack they seek the wisdom of an elder who tells them they cannot afford weapons, but they can find men with weapons, samurai, who will fight for them, if they find samurai who are in down on their luck and wondering where their next meal will come from. They find a very experienced samurai with a good heart who agrees to recruit their party for them. He selects five genuine samurai and one who is suspect but the seven return to the village to protect it from the forty plus bandits.

If you could only watch one film in your lifetime, this one is it. Yes that's a pretty bold statement, but it's true. Akira Kurosawa's Seven Samurai is a must see for any film fan. Kurosawa brought so many elements together for this film that it is on such a grand an epic scale.

Each samurai has their own arc to them, from being the experienced warrior to a young hopeful. Kurosawa takes his time to develop each character on his/her own terms and it works wonderfully. The film is extremely long and the epic battler doesn't take place till the final part of the film, but here we get to know our Seven Samurai, all of them, very well. We care for each, not wanting them to die in the heat of the battle, for a film to be able to do this for one character is great, but for seven....is extraordinary.

Samurai is a dazzlingly technical achievement for it's time and to this day outshines most "epic" movies we see today. It has beautiful cinematography and art direction. Kurosawa has a keen eye and uses it well in this film.

Samurai has one of if not the most amazing battle put to screen. The samurai turn the village into a fortress and use the surroundings to their help. The battle is so massive it spawns roughly 30 some odd minutes. The climatic battle itself goes through every rock that mother nature throws it's way, from the cold dirty rain to the hot dry day. It has influenced all the films we see today, The Return of The King, The Magnificent Seven, Narnia. Please don't see this film expecting BRAVEHEART, because there will be no limbs flying off the screen. But the action is beautifully filmed and shows early use of slow-motion.

Samurai packs an emotional punch at the end, as it shows how the samurai are honorable, we have been on this journey with them since their beginning to their end and we cannot help but feel sorrow for the ones lost in the battle. We feel sorrow for the Samurai because in the end they get nothing, yes the village is safe and the enemy is gone, but the only thing the samurai get is a loss in numbers.

Samurai is a landmark film that has it's place in history as one of the greatest. For those that can't comprehend it, think of it as Japan's Citizen Kane....only better. For a film that has inspired so many and given us so much, there is only praise to be said. For if it were not for this film, we may not be where we are today in cinema.
📹 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. 📀