🎦 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
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.

An Absolute Must-See
The Seven Samurai is one of those movies that should be on every true film-lover's list of movies that they absolutely must see at least once in their lives. It is a true epic motion picture but, like all great epics, it's story is essentially a simple and universal one. A gang of bandits have been preying upon a village of defenseless Japanese farmers. The Farmers finally decide that they are not going to take it any more, and resolve to hire unemployed Samurai warriors to fight for them. That is essentially all there is to the basic story although, naturally, there is a lot more to it. The seven Samurai that the farmers manage to hire are all vividly delineated characters, all of whom decide to hire on for their own different reasons.The farmers are also finely-drawn characters, each with their own individual strengths and weaknesses.

Although set in 16th Century Japan, the story of the Seven Samurai is so universal that it resonates equally in all cultures. Small wonder that it has been successfully remade as an American Western. It could just as easily be remade in a setting of Medieval Western Europe, Ancient Greece or Rome, pre-colonial Africa, Medieval China, ancient India, pre-Columbian America, as a science-fiction film set on another planet, or in any other setting that one might care to name. Nevertheless, Akira Kurosawa's original Japanese version is so good that it remains the best of all versions. Yes, it is 3 1/2 hours long. Yes, it is in Japanese. Yes, it is in black-and-white. Nevertheless, despite the length, the foreign language and the lack of color photography, this movie NEVER loses the viewer's interest for a moment. The Seven Samurai is one of the truly timeless classic movies that never gets old.
How is it possible for a film to be this good?
What else can I say that hasn't already been said about this film? Nothing much but I'll still tell you my own experiences about watching this film.

I had just recently become interested about Akira Kurosawa after being very impressed by some of his films: Dersu Uzala and Ran. Now when I had the chance to watch this man's most recognized work that has said to be the first modern action film, I could not let it pass by. This film was 51 years old when I watched it. Being born to this generation which grew up with fast-paced, explosive action films filled with computer effects, I shouldn't have been entertained when watching this colossal 3½ hour, slow-paced, black&white film with no computer effects at all. Despite all that this film shines bright for it is film-making at its best. If there is one film in this world that is completely flawless then it must be this one. All aspects in this film work perfectly: acting, directing, art direction, costume design, cinematography, editing, sound, everything!The Best thing about Kurosawa is the way he uses the camera to tell the story: visually stunning yet simple. Honest film-making with no tricks.

If you haven't seen this film and have intentions on seeing it, then you are an idiot. Sorry but this film is larger than life and you just can't die without seeing it or you shall always feel that you have missed something grand.(Note: this last paragraph is only directed to fellow film-fanatics)
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
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).
The Seven Samurai
In 16th century Japan, civil war has broken out and farm land is under siege by bandits. The farmer cries out: "Is there no god to protect us?" The farmer is born to suffer. Fed up, they seek advice from the old sage of the village, "grand dad," and he advises seeking help from samurai and gaining retaliation against the bandits.

The samurai hired are men of a certain attainment of character, which is obvious, since the farmers have so little to offer as recompense. In spite of their faith in the samurai, the safety of the village women is suspect in the presence of these seven men. Traditionally, as warriors, they are rumored to enamor women, seduce them, and then leave.

When the warriors come to town, they are introduced to the patriarch. One sneaks off to sound a false alarm of intrusion to expose the double sided agenda of the towns people. They want protection, but cannot entirely trust these men. Even as the samurai train the village men in the ways of warfare, there is an outburst from one farmer about the prevailing class differences between peasants and the seven who are of noble descent.

Kikuchiyo, the one warrior of somewhat questionable motive (as evidenced by his flagrant disrespect toward others and disregard for the traditional somber wisdom a warrior must carry himself with, and lack of documentation attesting his pedigree nobility,) discovers the women the farmers have tried to hide. Eventually, all are preparing for war. Three bandits scouting the village are captured and the leader of samurai unsuccessfully tries to stop the villagers from torturing them, once again illustrating the sentiment for humanity that the samurai class was said to be lacking.

Three samurai warriors and some farmers then case the bandits' camp, and Rikuchi (who has heretofore been tight lipped about his personal life) is discovered to have a spouse who is living with the villains. This foreshadows other emotional scars soon to be revealed. Kikuchiyo declares he is like the orphan baby he holds among the mill house ruins, a victim of the same criminal element when he was a child.

He disguises himself as a bandit, infiltrates their forces and steals a weapon, just as another warrior did. But he is chastised for it, once again revealing the double standard between nobility and peasant class. Manjo, who's daughter, Shino has fallen in love with a warrior, insults them by disowning her once he discovers she has had relations with Katshuro, the youngest.

Al last, the farmers and samurai win the battle. But in the end, "The winners are the farmers, not us." The samurai, who were historically denounced from noble class status, were exploited as a police force for the weak, bearing the prejudice from their own past abuses toward their society.

Kurosawa's storyline is elemental. It is superficial and holding to only its essential dramatic elements without the depth and weight of symbolism he is known for in later films. Why? He makes room for developing the various and sundry political statements he only pointed at in Roshomon. The film is sociology (the caste of noblemen vs. peasants), feminism (a woman disguising herself as a male out of her father's false pride for her honor,) and cultural relativity (the good guys have some bad in them and the bad guys have some good,) all in one. The farmers are the victims and the samurai are the heroes at arm's length, until the heroes beat the villain. Then the farmers are the victors and the samurai are again set aside.

It's pulp compared to Throne of Blood and Ran. I give it a 6.5
Having recently rented both THE MAGNIFICENT SEVEN (the American remake of SEVEN SAMURAI) and RAN (7S director Akira Kurosawa's later take on Shakespeare's KING LEAR), it is somewhat tempting to compare 7S to both. However, I will restrain myself and restrict my comment to perhaps the more apt comparison: SEVEN SAMURAI vs. THE MAGNIFICENT SEVEN.

ACTION: The Japanese original wins here hands down. In 7S, the villagers attack and destroy the bandits' hideout BETWEEN bandit attacks on their village, motivating the surviving 33 bad guys to PLAUSIBLY fight to the last man, which they end up doing. Since 7S relies more on hand-to-hand combat than M7 (which is dominated by gun play), the earlier film is much more gritty and believable in its more extensive battle scenes.

MUSICAL SCORING: This one is a tie. Both movies feature exceptional scores. While M7 has one of the most hummable themes ever, 7S has a strong samurai motif in its own right, plus great use of portentous percussive rhythms from the opening credits onward.

COMIC RELIEF: Another tie, though this one is likely to find many viewers choosing the movie from the cultural tradition in which they are most comfortable.

ROMANTIC INTEREST: Here, a cursory glance would perhaps award a nod to M7, since the youngest samurai seems to be (figuratively) miles away from the village lass he'd earlier compromised by the time the closing scene rolls around, while M7 ends with the comparable gunfighter not only in his lover's arms, but preparing for a life in agriculture. However, I would give the edge to 7S, which would have lost much credibility for an M7-type close, given its historical setting in feudal Japan. A bigger factor in S7's superiority here is the pathos evoked by the story of farmer Rikishi and his wife, which begins in mystery (to the viewer, as well as the samurai) and ends in tragedy. Not every love story can have a happy ending, particularly in believable action movies.

SUMMARY: These are just a few of the reasons why I rated SEVEN SAMURAI (at 10 out of 10) 25% higher than director John Sturges' 1960 remake, THE MAGNIFICENT SEVEN.
i urge all humans to find the necessary 3 hours.
i watched "yojimbo" and "a fistfull of dollars". i watched "rashomon" and "the outrage". having done so, i can compare them, and say that all are great films (although kurosawa's originals are, of course, superior to the remakes).

but after watching "seven samurai" and "the magnificent seven" i found myself unable to make a comparison. "magnificent" is a good movie; with yul, eli et al it almost had to be. but "seven samurai" is on another level entirely. when i attempt to produce adjectives that fit this work, i fail. it is, in my opinion, better than all other movies in almost every way.

kurosawa is something beyond brilliant, and mifune is mesmerizing (to say nothing of shimura and the rest of the outstanding cast). this film overwhelms all applicable senses, and is as emotionally effective and affecting as...i don't know...real life.
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.
📹 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. 📀