The Magnificent 7 (1960)

Some say a Hollywood cash-grab. Others say a western masterpiece. I say a decent film.
The death of the gunslinger is looming in this film, "the victory belongs to the farmers" echoes throught both films. The western always echoes death but not many show diversity and imperialisim in a light like this. The characters protect the Mexicans from banditos. exept that not only are all of the characters outsiders in there own right, they belive in justice and freedom.
Like The Seven Samurai, The Magnificent Seven all have various figures in the film some directly translated some brand new. Yul Brynner (Chris Larabee Adams) is the exact same as Kambei Shimada (the first recruited by the farmers who are old and battle wise). Chico is the same as Katsushirō Okamoto and Kikuchiyo mixed together. Brit is the same knife toting badass as Kyūzō at first declining the role but eventually giving in and helping. Bernardo O'Reilly is the same as Heihachi Hayashida even down to the wood chopping scene. Yet you can not call this film simply a carbon copy it is far from it. There are original and fascinating characters. Lee is a traumatised gun-slinger who fears that anyone of his 'enemies' will kill him at a random time. Vin Tanner is a drifter who thinks about beginning to settle down. And Harry Luck a man in search for treasure. But these characters are not what make the two films stand out from one another. It's the ideals behind the film. In the seven samurai there is always an undertone of dread or tragedy even in scenes of happiness. The death of the Samurai is coming. Whereas the theme in the magnificent 7 is the will for freedom of oppression in the face of adversity. The American ideal. This is shown throughout the film, like when the men are defeated and have to leave the village. Instead of running away they fight for freedom from oppression on the behalf of the scared farmers who as the old man puts it only know fear.

7 samurai

the director, Akira Kurosawa, created meaning in death highlighting every single bandits demise by not effectuating the characters but focusing on the outcome of action unlike modern films. This gives the viewer a great sense of the impact of death. 
In most modern films slow motion is used to show action close up and in detail but in this piece he uses slow motion to show death and its effects on characters and surroundings. He uses a telescopic lens from far away to make things seem faster than they are. He also panned using a telescopic lens to show importance in events or characters. this was incredible filming and incredibly odd for the time. His fast paced cutting is used to keep the film in time like a drum beat.
From the 12 century to the 19th century was the slow downfall of feudal Japan and the samurai as this was the start of a peoples future and democracy. This was set during the 1500s a time when samurai and Ronin could cut down peasants as if they where ants. This film began to illustrate a more democratic future and nothing shows this better in the film than the final battles aftermath and ending. At the end it shows the aftermath of the battle short term and long term. In the short term there is sorrow for no more vengeance for fallen samurai. Yet long term the villagers are happy and the Ronin have served their purpose. yet as the camera catches the 4 graves left their is a feeling of shallowness left. Happiness amongst he people and the representation of a people's future came at the cost of the samurai. Like in reality during the 18th century when samurai had begun to serve the public as dock wardens or policemen before the eventual dying out of the samurai.  Each of the characters in the 7 samurai are an archetype of war: Yohei (the farmer) is  the fear of battle that dies as soon as rage for fallen ones ensue. Kikuchiyo is the vanity of prior won battles yet as seen vanity steeps into love for ones comrades and anger for the enemy. he also understands the peasantry struggles because he himself is one with the farmers.  Kambei is the weariness of war he understands what may happen and accepts this is a peasant victory. Katsushirō  is a young warrior who has never seen battle and only knows stories of war but when faced with loss understands sorrow and anguish.  Kyūzō is discipline respect and honour. he does not boast and even in death is silent and honourable. He is admired by Katsushirō  and is a driving force for the group who turned down helping peasants. But reconsidered and held honour high even when stooping to help peasants. Gorōbei acts as the tactician and creates a map of the area (also giving the viewer an understanding of the area.
Finally Heihachi, the spirit of war always looking on the bright side. Yet dies as the hard times start.
The film creates a vivid image of the graves on the viewer's mind. a solemn reminder of the death of the samurai and the bright future of the commoner.