OCA Photography – Introduction to Film Culture

Assignment 1 – Hero’s and Villains ‘re-made’.

The has been an interesting exercise to watch five movies; three inspired by two of the others and a more interesting decision as to which two to reflect on together with the “Seven Samurai”. It would have been a much easier decision if had have reflect on any three – but I guess that would have drawn everyone to the low hanging fruit of “Yojimbo” and its two offspring. However, I want to reflect on the two I think that have had the most effect on me, “Yojimbo” and “Fistful of Dollars”.

As I have revealed earlier in exercise 1.2, I came to the Seven Samurai as an admirer of the Magnificent Seven and while not wanting to get into comparisons here between those two films it is significant to mention it as it has a bearing on how I viewed Kurosawa’s masterpiece work.

It is evident when you watch the “Seven Samurai” why it has inspired so many filmmakers; not only the recognised re-make the Magnificent Seven but others such as the Guns of Navarone and the Dirty Dozen. The film explores so many themes, from the cultural significance of the Ronin in Feudal Japan to the motivation of individuals and beyond; all wrapped in a package that any blockbuster Hollywood movie now or then would be grateful to have.

What is does have though above all it imitators is its running time, at over hours Kurosawa allows the plot points to develop slowly, the characters to marinate so that they become rounded individuals. It does not rely on an overly dramatic showdown that many of its offspring have, nor is there a “happy ending” of redemption for the group either in an honourable death or survival. No, what Kurosawa is showing in this film is that violence breeds violence and that for a warrior survival can be a form of death. They become obsolete there are no longer required and because of the class systems in feudal Japan they cannot quietly retire into the community, they have saved. The fact that they are ronin available in the first place is because of this class system, and Kurosawa shows that perpetual cycle to great effect in this movie.

The same director shows a different style in Yojimbo, classed as a thriller – the story is less class based and could be easily transported in any period as has been demonstrated with the two remakes we have studied. Here the director has focused on an individual and his mission to rid a town of two feuding gangs. While still set in feudal Japan, it is quite clearly at a period which is contemporary with the American western, as shown with the use of a Colt 45 or similar. The overall feel of the film is more of a western than the thoughtful subtleties of the directors earlier Chanbara masterpiece.

There are much more comic elements, and the score is heavier and more humorous if not cartoon in style, but overall the Kurosawa has pushed the samurai film away from its origins to show more realistically how brutal death can be in particular by a sword. However, unlike the more real characters that he has produced in the Seven Samurai, the hero is more the of the modern day action hero. Seemingly unstoppable and able to single-handedly bring down the “bad guys” no matter what happen to him, which is in nearly every modern day film, although, somehow I am drawn to a comparison to John McClane in Die Hard; how he can defeat the terrorists despite being barefoot.

In “A Fistful of Dollars” Sergio Leone remakes the Yojimbo while bringing a style to the film which pays homage to both Kurosawa and the chanbara and the great blockbuster American Westerns of the likes of John Ford. “A Fistful of Dollars” was the beginning of the Spaghetti Western and Leone had produced a film which was not a shot for shot remake make of Yojimbo nor has it the same tone. I would describe it as a more serious film than it predecessor. Yes, the overall story is the same, but the development of most charictors is less characteristic than Yojimbo, and the direction leads the way the use of extreme close-ups on the actor’s eyes that became a trademark of the spaghetti western.

A Fistful of Dollars is very much a western, and you can see that influence in the wide shots which bring in the landscape – especially when compared back to Yojimbo; mainly set within the claustrophobic surround of a village.

The overall look of Leone film is very similar in feel to both Yojimbo and Seven Samurai, but this achieved differently. Kurosawa makes great use of light and shadow for the dramatic effect his films; shot in black and white and the contrast gives the grittiness and darkness. Whereas “A Fistful of Dollars” is in full colour, but unlike many of it contemporary American Westerns there is a layer of dust over everything as you would expect in the American West – not the shiny bright colours of Hollywood.

Overall I think these two directors over these three movies have made a great contribution to each genre they represent, in Leones case even helping to give birth to the Spaghetti Western. They have transported them to another level for all that followed to look up to whether within the genre or outside. They have spawned many remakes, sequels and homages some less successful than others but they all owe that existence to the three films we have talked about today.

Watching three films back to back, which essentially are the same story has been an interesting exercise I have written a full analysis on the films in separate posts which can be accessed by clicking on the movie title. However, the exercise asked me to summarise each film in around three sentences.

Yojimbo (1961)

A Ronin arrives in a town controlled by rival gangs. He decided that the town would be better off with either gang. What follows is the Ronin playing the gangs against each other to achieve his goal.

A Fist Full of Dollars (1964)

A stranger arrives in a town controlled by rival gangs. He decides that this can work to advantage to make money. In his attempts to play them off against each other for money brings down one gang and wipes out the other to avenge the friend he made in the village.

 Last Man Standing (1996)

A drifter/gunslinger arrives in a town divided by gangs. For his purposes, he plays both gangs against each other to bring them down.

The two remakes are remarkably faithfully to the original screenplay of Yojimbo – so much so that Kurosawa successfully sued for breach of copyright over A Fist Full of Dollars. However, there are subtle differences in them all. I believe Fist full of Dollars is closest, weighted towards money making especially at first, by the stranger; morality is coming later in the film when we see him rescue Marisol. Yojimbo I feel the destruction of the gangs the Ronin’s moral crusade.

Last Man Standing although an official remake I found the narrative much more confusing – there is no moral standpoint. Yes, he helps the two female characters but is that out moral decency or guilt as in the in especially in the case of Lucy is probably is the cause of her being attacked. He is seen telling the Texas Ranger he intends to bring the gangs down, but why? To step in, there place?

Of the films the most pleasing to why eye regarding cinematography is “A Fist Full of Dollars”. There is that open expansiveness found in the traditional westerns, with deep depth of field used, with expansive wide shots; however, there is a good use of close-ups – extreme close-ups in places e.g. the final face off with the man with no name and Ramon. The film stock used is not too vivid its colours, there a some muted effect give a more feel to how the old west would be compared to traditional westerns.

Yojimbo is not as expansive in its shots; there are more close-up to characters the, camera is often at right angles to the scene. On the whole, there are more medium shots and there is an overall dark feel and look to the lighting.

Last Man Standing the cinematography lots of combination of long, medium and close-ups there no consistency. The colours are all muted by a layer of dust, and while I have said, I don’t mind this, it does on further reflection give an overall drab feeling to a lacklustre film.

Of the three film in would say the most skilful cinematography is in A Fist Full of Dollars because the have successfully mixed the Japanese and traditional western styles together to give unique dramatic effect. I like the way that the film has a look on the surface of the classic western, but as you are drawn in, there are more close scenes giving the feel of a not western genre drama.

Culturally is there a big difference to the Japanese audience between the sword and the pistol about the western and the chanbara? I feel that probably there isn’t. Chanbara is escapism for the masses in Japan in the same way that the “cowboy” (western) was escapism to American audiences.

However, the use of a pistol in Yojimbo is a different it is used to show the character of (or should I say lack of?) Unosuke. Unosuke has no honour or skill he is the quintessential bully and bringing the pistol is giving himself a power that he could not have otherwise.

Perhaps really where the cultural feeling towards the pistol will e would be a metaphor for the bulldozing nature of the American culture intruding in other cultures and overriding them. Which can also be seen metaphorically in the famous knife to a gunfight scene in “Raiders of the Lost Ark.”

Summary

A Ronin arrives in a small town in the grip of warring crime lords. Despite a warning to move on, he uses the fact that both sides seek his skills as a swordsman to his advantage, as he believes the town would be better without either side.

Synopsis

After hearing an elderly farming couple lamenting the fact their son has joined local bandits; a ronin arrives in a town which the divided by a gang war. In the town, he meets the owner of the local izakaya (pub /bar) who advises him to keep travel after explaining how the town is divided by local gangs headed by Ushitora and Seibei. The ronin decides to stay as he feels the town would be better with both sides dead.

Initially siding with Seibei for a hefty fee, the ronin leads Seibai to a showdown with Ushitora. However, the Ronin has become aware of the plan to have him killed to avoid having to pay. He resigns from Seibei in front of Ushitora leaving them to face their fate. The showdown is avoided with the unexpected arrival of a government official.

The government official called away to another village, due the murder of another official, the Ronin becomes aware that it was Ushitora who organised the murder to get the official to leave. The Ronin captures the assassins and sell the to Seibei, but tells Ushitora that it was Seibei men that caught them earning a reward from Ushitora.

Ushitora then orders the kidnapping of Seibei’s son who he offers in exchange for the two prisoners. However, Ushitora double crosses Seibei at the swap when his brother, Unosuke, shoots the assassins with a pistol. But Seibei anticipated this so he kidnapped Ushitora’s woman. The next morning she is swapped with Seibei’s son.

The Ronin finds out that the woman was the wife of a local farmer, who he lost over a gambling debt. The Ronin tells Ushitora that Seibei is coming to take her back. Using the cover of Ushitora gathering his men, the Ronin kills Ushitora’s guards and reunites the woman with her family as encourages them to he flee. However, Unosoke is suspicious and see’s through the Ronin’s doublecross; the ronin is then severely beaten.

Despite the beating the ronin escapes with the assistance of the izakaya owner Ushitora is the destroying Seibei. However, while is recuperating in a graveyard, he finds out the izakaya owner has been captured by Ushitora so he returns to the town and kills Ushitora and all his men, despite Unosoke’s use of a pistol.

His work completed the Ronin leaves town and moves on.

Review

While I know that this film inspired a spaghetti western, I was surprised by the overall western feel of the movie, the Ronin and the warring gangs are far more interchangeable with the old west than the theme and styles of the other famous Kurosawa film remade as western the “The Seven Samurai”.

The performance of the lead Toshiro Mifune is fantastic; there is much subtlety in his facial expression which great depth to the dramatic and comic moments – have heard his film called a comedy, I think that doing it a disservice, it is satirical, and it is not taking itself too seriously. The comic moments lighten what essentially is, a dark story; although not a dark as the Seven Samurai.

The visual styling of the film pleases, an almost graphical nature to the shots, e.g., the long shots and how the camera is a right angle to the action. I’m less convinced about the score – it is very western and overly dramatic, I would have preferred a little more subtlety.

Overall though the best film I have watched so far in connection with this course.

While almost identical on a superficial basis “The Seven Samurai” and “The Magnificent Seven” are very different films. These differences mainly come I feel from the cultural context of each movie.

“The Seven Samurai” is a story of Ronin, masterless Samurai, in feudal Japan. Japan at that distinct class structure and it was not possible to move within the classes or even for the classes to mix on a social level. Therefore, this brings into the story the issues that these Ronin are forever trapped as a Samurai. They have to survive in any way they can. Many Ronin did fall by the wayside and become bandits as they only way to survive, here we have seven men still fighting to keep their honour even if payment was just three bowls of rice.

“The Magnificent Seven” in contrast has the same plot line gunmen working defending a poor village for little pay, but the context is not the same. America is a classless society; there is freedom to move between classes and job – Steve McQueen’s character is, in fact, offered a job in a store which would pay far that being a gun for hire. The fact the seven men in “The Magnificent Seven” are choosing their own destiny – they are adventures or what we would call today adrenaline junkies.

The main leads in the film are very similar, other than the shaved head; both were portrayed as strong but kind principled men. For example Kambei shaves of his “top knot” a badge of great honour for samurai to rescue a child, Chris in “The Magnificent Seven” steps up to drive the hearse for a deceased Native American, who the is being prevented from being buried by the town’s prejudice. Both also reflect that they are never the winners in the fights they choose to have.

The of the remaining characters from “The Seven Samurai” John Sturges has done an excellent job in transferring them to the Western genre. He has combined Kikuchiyo and Katsushiro to form the Chico Character; a young want to be a gunslinger, who in reality is just running away from being a farmboy. This amalgamation was a wise choice as the role was an apprentice to a gunslinger did not exist therefore the combination of trainee and fool fit together nicely.

Kyuzo was directly translated into James Coburn’s Britt, the style the mannerisms were excellently transposed between the two films. Similarly, with Heihachi & Shichiroji, we ae introduced to O’Rielly (Charles Bronson) chopping wood for his breakfast and Harry is the loyal old friend of Chris. However, both characters are given a like western twist with the addition for O’Rielly, a love of children and Harry’s fortune seeking nature.

The final two characters in The Magnificent Seven are not transposed from the original but there more for their Western context; the gunmen with lost nerve, Robert Vaughan’s Lee and the drifter Vin played by Steve McQueen – although McQueen’s character does have some traits of Shichiroji.

Is one film better than the other is one director better than the other that is hard to tell because as they are the same story, they are apples and oranges by comparison.

“The Seven Samurai” is a stand out film; the whole the mise en scene is incredible, every tone, every shape, there is a sense not a second of screen time is wasted. That is considerable considering it 3 hours plus running time and as discussed contextually it fit fell with it historical background.

“The Magnificent Seven” is a visually beautifully film, filmed in technicolour, it employs that great US West /Mexican scenery to significant effect, it hard to look away from the characters because they portrayed by such stars and John Sturges as done pretty good job of translating the story to the American west. However, in comparison to its predecessor is baggy, overlong recruitment segment, and all the action in the last act – little build up. And contextually it is not the parable on the class system that the Japanese original was.

The best way can describe the overall mais en scene compares to each other is The Seven Samurai looks much more real than the shiny fantasy of the American west that The Magnificent Seven shows. However, should I criticise the John Sturges for the depiction? I think not: he was making the film for a particular audience – wasn’t until later with the advent of the spaghetti western did American audiences start to come to terms with the fact that the old west was dusty and dirty.

It’s a bit like comparing two models of Ferrari, are both films great just built for a different purpose..

Summary

For only a meagre three meals a day, 7 Ronin (masterless samurai) are hired by villages to protect them from bandits.

Synopsis

When villages overhear that bandits are planning to return to steal their crops and harvest time the village elder suggests that they must hire samurai to protect them, although all they have to offer in payment is food.

The villagers ask ageing ronin Kambei for help after an initial hesitation Kambei set about recruiting six more Ronin to defend the village. Including an inexperienced apprentice Katsushirō and Kikuchiyo, who carries with him a family scroll to prove he a samurai but reality is from a village just like the one to be defended. Kikuchiyo is initially rejected follows the group until he is accepted.

After an initially cold reception in the village, there are there help trust begins to grow as the community and samurai work to together to train, and the samurai comes to terms the shame of how other samurai have brought torment to such villages.

The villagers and samurai stand together to face a final series of battles with the bandits.
Review.

As the world know this is the film that inspired the classic western “The Magnificent Seven”, and while the story we love and scenes that are indelibly marked into are memories from the “The Magnificent Seven” are lifted very faithfully from its predecessor – make no mistake these are two very different films. The “The Seven Samurai” is a much darker piece of work dealing with the culture and social hierarchy of feudal Japan.

I’m not sure it an advantage or a disadvantage that I have come to the film after loving the “The Magnificent Seven” for most of my life, therefore, it hard to write a straight review as opposed to a comparison. As I watch it looking for the similar scenes, for example, the sword duel paralleling James Coburn’s knife fight. However, I notice differences too.

“The Seven Samurai” is harder watch the “The Magnificent Seven”; the characterisation of the main characters and their places in society, play a much more important role. There is considerable development in the script, exploring the motivation of the samurai. The acting is faultless; the cinematography is beautiful the black & white renders the Japanese countryside in wonderful tones.

“The Seven Samurai” makes you think, it is not a romp about seven adventurers looking for excitement in the changing life – it is more about pride and redemption. Ronin are lonely figures outcast from society many did fall into the ways of the bandit as a way to make ends meet – the men although masterless still honour their bushido code by defending those who can not defend themselves for just a salary of 3 bowls of rice a day.