Seven Samurai (1954)

 ●  Japanese ● 3 hrs 27 mins

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Inspiring and insightful, this masterfully crafted martial arts drama follows the fluctuating fortunes of an impoverished farming village, as they hire a group of samurai to protect themselves from marauding bandits.
See Storyline (May Contain Spoilers)

Cast: Keiko Tsushima, Takashi Shimura, Toshiro Mifune

Crew: Akira Kurosawa (Director), Asakazu Nakai (Director of Photography), Fumio Hayasaka (Music Director)

Genres: Action, Adventure, Drama

Release Dates: 19 Nov 1956 (India), 26 Apr 1954 (Japan)

Tagline: The Mighty Warriors Who Became the Seven National Heroes of a Small Town.

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Did you know? After Shichiroji agrees to join the samurai, Kambei, in a camera close-up, says to him "Maybe we die this time." The picture than shifts to show Shichiroji, with Katsushiro standing behind him. Kambei, Shichiroji, and Katsushiro are the only three samurai to survive. Read More
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Production Company
Production Supervisor
Production Assistant



Script Supervisor

Camera and Electrical

Director of Photography
Still Photographer
Assistant Cameraman


Music Director


Sound Re-recording Mixer
Sound Effects Editor


Art Director
Production Designer
Prop Master
Assistant Art Director

Costume and Wardrobe

Costume Designer

Makeup and Hair

Makeup Artist
Hair Stylist
Film Type:
Feature Film
Colour Info:
Black & White
Sound Mix:
Mono, Stereo
Frame Rate:
24 fps
Aspect Ratio:
2.35 : 1, 1.37 : 1
The Mighty Warriors Who Became the Seven National Heroes of a Small Town.
Will Take Its Place With the Seven Greatest Films of All Time!
Revealing Mistakes
During the first scene when the people in the village are discussing what to do with the bandits, it's visible that they are wearing bald-wigs.

Crew/Equipment Visible
When the samurai are giving battle advice to the peasants, who sit around them forming a circle, the camera does a rather wide circle shot of them. You can see the dolly track behind the seated peasants.

Shichiroji throws a spear out the door of Rikichi's hut in anger, it lands obviously in parallel with the door. Later, after Kikuchiyo's outburst he runs outside and picks the spear up, however it's now laying sideways compared to the door.
After Shichiroji agrees to join the samurai, Kambei, in a camera close-up, says to him "Maybe we die this time." The picture than shifts to show Shichiroji, with Katsushiro standing behind him. Kambei, Shichiroji, and Katsushiro are the only three samurai to survive.

None of the seven samurai are bested in sword-fights, archery or spear-fighting by the bandits. All of the four samurai who are killed in the film are shot by a musket. The only one of the seven who fires a musket in return is Kikuchiyo, who is not technically a samurai and doesn't kill anyone with the shot.

The only three samurai survivors, Shichiroji, Katsushiro and Kambei, were the first three title character actors to die in real life: Daisuke Katô; (Shichiroji) died in 1975, Isao Kimura (Katsushiro) died in 1981 and Takashi Shimura (Kambei) died in 1982. Whereas Minoru Chiaki, who played Heihachi, the first Samurai killed, was the last of the title character actors to die in real life (in 1999).

Was voted the 12th Greatest Film of all time by Entertainment Weekly, being one of two films in the magazine's top 20 greatest films not in English. Federico Fellini's La Dolce Vita (1960) is No. 6.

The three writers, Akira Kurosawa, Shinobu Hashimoto and Hideo Oguni, wrote the final script over 45 days taking no phone calls or visitors, with few exceptions. The constant writing took a toll on their bodies and sickness was rampant in post-war Japan; at one time Kurosawa wound up in the hospital with roundworms.

The first draft, written by Shinobu Hashimoto, was written "freely," as instructed by Kurosawa, and wound up 500 pages long.

Akira Kurosawa did not get along well with actor Yoshio Inaba, (Gorobei), deriding and yelling at him for most of the shoot. Although Inaba appeared in a minor role in Kurosawa's Throne of Blood (1957), Inaba apparently found the experience of shooting Seven Samurai (1954) so stressful that he limited the amount of film work he did after it.

In recent decades, 'Yasujirô Ozu's' Tokyo Story (1953) and Akira Kurosawa's Seven Samurai (1954) have consistently polled as the two greatest Japanese films ever made in both Japanese and foreign movie lists. However, the two master directors had radically different styles and approaches, were employed (for the most part) by different studios, and thus worked with totally different crews. In fact, the only person associated with both films is the prolific character actor Eijirô Tôno, who played both Numata, a drinking buddy of the elderly protagonist, in Tokyo Story, and the desperate kidnapper whom Kambei confronts in Seven Samurai.

This film is often described as the greatest Japanese film ever made, including by well-known Japanese film historian Donald Richie and by Entertainment Weekly, in its list of The 100 Greatest Films of All Time. Interestingly, despite its widespread commercial popularity, it was not particularly highly regarded by Japanese critics at the time of its release (the early 1950s is now regarded as a sort of Golden Age of Japanese cinema).

Early in the writing process, six of the samurai were conceptualized, all loosely based on historic figures. Originally Toshirô Mifune was meant to play Kyuzo, the extremely stoic master swordsman. However, Akira Kurosawa and his collaborating writers decided that they needed a character they could more identity with who wasn't a fully-fledged samurai, so Kikuchiyo was created. Since Kikuchiyo didn't have a historic basis, Mifune was allowed to do an unprecedented (for a Kurosawa film) amount of improvisation in the part.

Toho pulled the plug on the project several times when it ran over budget, forcing director Akira Kurosawa to go back and personally argue with the board of directors who were convinced they were making a flop.

The simultaneous production of Seven Samurai (1954) and Godzilla (1954) nearly forced Tôhô Kabushiki Kaisha into bankruptcy.

First use of a scene which is now commonplace in cinema: The approaching horde coming into view as they crest a hilltop, specifically when Kikuchiyo sees the mounted bandits approaching.

The movie is set in 1586. We learn during the scroll scene that the real Kikuchiyo was born in year two of the Tensho era (1574) and is now 13 years old. Japanese convention considered a child to be one year old when he was born and advanced his age one year each new year.

Filming had to be stopped several times due to a shortage of horses for the final battle sequences.

Seiji Miyaguchi, who played the taciturn samurai Kyuzo, had not touched a sword at all before this movie. Editing and careful cinematography were both used to give the impression that he was a master.

Akira Kurosawa's ancestors were samurai, roughly up to a hundred years before he made this film.

This was the first film on which Akira Kurosawa used multiple cameras, so he wouldn't interrupt the flow of the scenes and could edit the film together as he pleased in post-production. He used the multiple camera set-up on every subsequent film.

Often credited as the first modern action movie. Many now commonly used cinematographic and plot elements - such as slow motion for dramatic flair and the reluctant hero to name a couple - are seen for perhaps the first time. Other movies may have used them separately before, but Akira Kurosawa brought them all together.

After months of research, all of the seven major characters in the film wound up being based on historical samurai who once existed.

Kurosawa designed a registry of all 101 residents of the village, creating a family tree to help his extras build their characters and relationships to each other.

Akira Kurosawa's original idea for the film was to make it about a day in the life of a samurai, beginning with him rising from bed and ending with him making some mistake that required him to kill himself to save face. Despite a good deal of research, he did not feel he had enough solid factual information to make the movie, but came across an anecdote about a village hiring samurai to protect them and decided to use that idea. Kurosawa wrote a complete dossier for each character with a speaking role. In it were details about what they wore, their favorite foods, their past history, their speaking habits and every other detail he could think of about them. No other Japanese director had ever done this before.
Movie Connection(s):
Remade as: The Magnificent Seven (English)
Remade as: China Gate (Hindi)
Remade as: Battle Beyond the Stars (English)