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The last samurai analysis essay
The last samurai analysis essay
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Since its initial 1954 release Akira Kurosawa's Seven Samurai has always been considered one of the greatest motion pictures of all time. In this Japanese action epic Kurosawa set the standard for modern action, editing, and storytelling. The setup of the story is as follows: a poor farm village that struggles to survive is plagued by a ruthless group of bandits. Fed up with their oppressors the villagers go to the city to recruit samurai to help them defeat the bandits once and for all. From this basic premise comes one of the cinema's defining motion pictures. Kurosawa's distinct narrative style, editing, and staging have been an inspiration for multiple generations of filmmakers. Naturally, Kurosawa's many admirers have often paid direct …show more content…
This isn't a coincidence: The Magnificent Seven is a direct, authorized American remake of Kurosawa's film. Almost every event in the film is a Western style update of what was seen in Kurosawa's film. Here the peasants are Mexicans living in a small border village. Banditos plunder their crop driving them to seek out gunmen. The recruiting is the same in both stories with the first warrior the peasants meet in town being a veteran warrior by the name of Chris Larabee Adams (here played by Yul Brynner) who begins assembling six additional gunfighters to help the Mexican village. He plays the part of Adams as a classic Western hero with a calm sense of detachment, cool speaking tone, and steadfast resolve; he is a man who has seen it all and no longer is fascinated, or frightened by violence. When he takes the job, just as the character of Kambei Shimada in Seven Samurai, the audience knows that there is no particular reason why this man chooses to come to the villager's cause, but it is undeniably his influence that will carry the seven and the village to …show more content…
The character of Chico (Horst Buchholz) like Kikuchiyo desperately wants to prove himself to Adams and the other, far more disciplined members of the seven, but he also struggles with his youth, and falling in love with a woman of the village. Unlike Kikuchiyo, Chico does survive the final battle, and unlike Katsushiro, Chico does stay behind to start a life with the peasant girl he'd fallen in love with (which makes sense as, unlike Katsushiro, Chico doesn't have to worry about class differences between himself and the girl). Filling the spot created by this two-character fusion is Lee (Robert Vaughn) a once noteworthy gunman on the run from the law, but has developed a crippling fear of death. He is a good character concept who ultimately overcomes his fear of death in the finale, but could have been developed
Knights and samurai have a lot in common. For example, they both follow a code and protect land. Although they are very similar, there are a lot of things that set them apart. Samurai had a different social status, had different weapons, and expectations. While knights and samurai have many similarities, in a one on one battle, the advantage would be to the knights and this can be seen in their honor code, training, and armor.
Akira Kurosaw’s Seven Samurai is a film that encompasses various ideologies in order to allow the audience to understand the lives of Japanese people during the 1600’s. The film delves deep in social issues of the roles of the people within the society, the expectations as well as the obligations within the respected castes and elements within groups of ; suffering, working together, protecting family and working for the better good of the community.
Beginning the mid 1920s, Hollywood’s ostensibly all-powerful film studios controlled the American film industry, creating a period of film history now recognized as “Classical Hollywood”. Distinguished by a practical, workmanlike, “invisible” method of filmmaking- whose purpose was to demand as little attention to the camera as possible, Classical Hollywood cinema supported undeviating storylines (with the occasional flashback being an exception), an observance of a the three act structure, frontality, and visibly identified goals for the “hero” to work toward and well-defined conflict/story resolution, most commonly illustrated with the employment of the “happy ending”. Studios understood precisely what an audience desired, and accommodated their wants and needs, resulting in films that were generally all the same, starring similar (sometimes the same) actors, crafted in a similar manner. It became the principal style throughout the western world against which all other styles were judged. While there have been some deviations and experiments with the format in the past 50 plus ye...
It was incredibly difficult to not to pick one of my favorite films for this project, such as A Clockwork Orange, One Flew Over The Cuckoo’s Nest, and Jaws. However, I went out of my comfort zone and picked a genre of film I’ve never become familiar with- Western. The 1974 film Blazing Saddles was a hilarious frontier/Wild West twist about road worker named Bart, played by Cleavon Little, becoming part of character Hedley Lamarr’s (Harvey Korman) evil plan to out-run the small town of Rock Ridge by appointing an African American sheriff to the massly single-minded small town of racist’s. With the plan to destroy the town to make way for a new railroad, Lamarr is convinced that they town would be so appalled that they wouldn’t stand having an
The samurai were the hereditary warrior class of feudal Japan who trace their creation to the “Heian period in around 794 when the capital was moved to Heian-Kyo” . The warriors were hired by wealthy landow...
Hiroshi Inagaki’s 1954 film Samurai 1: Musashi Miyamoto and Kenji Misumi’s 1972 film Lone Wolf and Cub: Sword of Vengeance are both characterized by fluid panoramic shots that show men that are at once dwarfed by their surroundings yet simultaneously in control, showcased in breathtaking sword-fighting scenes where they seem to defy the laws of gravity. Samurai films, “much like the American Western,” feature “tales of loyalty, revenge, romance, fighting prowess, and the decline of a traditional way of life” (“Samurai Cinema”). Both of these films display all of these themes, but where they depart is that the protagonist of Samurai 1: Musashi Miyamoto begins as a wayward member of society and eventually earns honor and respect, while the protagonist of Lone Wolf and Cub steps completely outside the bounds of social acceptability.
...ng until I started to realize the subtle techniques being utilized by Welles and his amazing shots he constructed. Like a flawless painting, every scene was drawn out and portrayed perfectly to capture the viewers’ emotions and thoughts. If the viewer likes and appreciates the art of film making, then they are sure to recognize the innovative aspects of Citizen Kane and how it has affected modern day film and culture.
The Web. The Web. 20 Mar. 2014. http://www.mv.com/ipusers/smg/Samurai%20Essay.htm http://www-personal.umich.edu/malokofs/SCA/Persona/History/samurai.html
Kurosawa creates a masterpiece with the Seven Samurai. This film was created in 1954, it is a Japanese film and it has English subtitles. The Seven Samurai is a story about a small farming village in 16th century Japan that is under constant threat from traveling groups of outlaw bandits. The elders that live in the village decide to hire a defense force to protect them from these outlaws. They enlist a variety of samurai for hire and samurai are willing to work for their food. The mission of the seven samurai is to protect the village against almost impossible odds.
One of the most successful directors of this genre was John Ford. He once introduced himself saying, ‘I am John Ford, and I make Westerns’. The somewhat minimizing nature of this rem...
Classic narrative cinema is what Bordwell, Staiger and Thompson (The classic Hollywood Cinema, Columbia University press 1985) 1, calls “an excessively obvious cinema”1 in which cinematic style serves to explain and not to obscure the narrative. In this way it is made up of motivated events that lead the spectator to its inevitable conclusion. It causes the spectator to have an emotional investment in this conclusion coming to pass which in turn makes the predictable the most desirable outcome. The films are structured to create an atmosphere of verisimilitude, which is to give a perception of reality. On closer inspection it they are often far from realistic in a social sense but possibly portray a realism desired by the patriarchal and family value orientated society of the time. I feel that it is often the black and white representation of good and evil that creates such an atmosphere of predic...
Western Films are very standard, the protagonist is generally a handsome rogue cowboy or gunslinger. They always have some sort of antagonist or “evil” groups that take advantage of the general population, thus bring them wealth and notoriety. People that watch Western films expect to see cowboys, US Rangers, gunslingers, thieves, outlaws and trains are a common feature.
Alfred Hitchcock’s unique sense of filmmaking and directing has allowed him to become a very famous and well known film maker of his time. He uses similar recurring themes, elements, and techniques in many of his films to engage the viewers in more than just the film, but the meaning and focus behind the story.
'Twilight Samurai" is situated in Japan throughout the time of the Meiji Restoration, circa 1868 - the same period as Kurosawa's incredible "The Seven Samurai" and Edward Zwick's exquisite "The Last Samurai." The three movies bargain in distinctive routes with a period when samurai still attempted to live by the Code of Bushido, even as they confronted destitution or unemployment in an evolving pop culture. "The Last Samurai" is about samurai contradicting the head's moves to modernize Japan; unexpectedly, we discover that the saint of "Sundown Samurai" battled and kicked the bucket in that insubordination - after the story of this film is over.
The films of Japanese director Akira Kurosawa have had wide ranging influence over contemporary films, with his ronin films Seven Samurai and Yojimbo influencing countless westerns and mob movies. Arguably, however, Rashomon has been the most instrumental of all Kurosawa’s films because it asks a question that lies near the heart of all cinema: what is reality? Today, any consumer of television or cinema has seen various permutations of the plot of Rashomon numerous times, probably without realizing. In the film, a rape and consequent murder are told five different times, by a woodcutter (Takashi Shimura) who seems to have witnessed the event, a bandit (Toshiro Mifune) who committed the rape, the wife of a samurai (Machiko Kyo) who was raped, and the ghost of the samurai (Masayuki Mori), who is channeled by a medium after his murder. In each telling, the viewer is presented with five realities that, through the use of various frame stories, are totally incompatible with one another. Throughout, Rashomon is a study in simplicity. The beautiful yet frugal cinematography of Kazuo Miyagawa and the minimalist plot, skillfully directed by Kurosawa, force the viewer to contend with two dissonant notions: that everything they have seen is real, but that none of it can be true.