I am faced with a dilemma. How do I handle reviewing a film of Seven Samurai’s status? Considered one of the greatest films ever made, it is a cinema landmark, hugely influential and incredibly important. It is a film that deserves to be examined, studied, and appreciated with a keen eye.

But a film scholar I am not. An aspiring film snob, maybe, but not a very good one. I’m simply an ordinary guy who loves great movies. And Seven Samurai is a great, great movie. Do I attempt to elevate my game and examine this film with the scholarly insight it deserves, or do I give in to my inner Kurosawa fanboy and gush like a four-year-old meeting Barney the Purple Dinosaur?

Even as I write this, I do not know how I will handle it. And so I will just keep writing and hope for the best. Wish me luck.

Seven Samurai is a film of triumph. Of people coming together for a common purpose, rising above their limitations as individuals and succeeding as many when few would have failed. Seven Samurai is a film of sacrifice. Of giving self when the rewards are few, if any, and of the realization that no victory is more noble than winning the love of friends. Most of all, Seven Samurai is a film of rich characters, harrowing struggles, brisk action, good humor, and thrilling storytelling.

Director Akira Kurosawa sets the stage for the struggles to come with dynamic simplicity. Hooves thunder in the hills, bandits on horses appearing on a bluff overlooking a small peasant village. They consider raiding the village, but decide to come back later. Some villagers overhear the conversation and take the dire news back to the others. There, the village elder tells them if they would save their community, there is but one course for them to take: Hire samurai. And so it begins.

The first time I saw this, I was instantly engrossed. The characters, memorable with their grimacing faces and tight close-ups, draw you right in. The early struggles of the peasants, so obviously out of their element in the large town and utterly incapable of dealing with the aloof samurai they encounter, are delightful and sad. When wefinally meet our very first samurai, the charismatic Kambei, played with great nobility by Takashi Shimura, we’re bothsympathetic with the peasants and a little irritated at their ineptitude. Kambei gives them hope, however, and we hope with them.

And so the samurai enter the picture, one after another, each with increasingly memorable introductions. The young follower. The master swordsman. The wise companion. And of course Kikuchiyo, the beloved and tragic character played by screen icon Toshiro Mifune. Each has a part to play in the group dynamic; each is a very specific cog in the larger whole. Kurosawa does not rush their introductions. He takes his time, letting the first third of the film unfold with a steady, deliberate pace. Other directors, modern directors especially, would have breezed through these sequences in 20 minutes. Not Kurosawa. The film is all the more powerful because of his choice. These men will offer the ultimate sacrifice; you must get to know them, care for them and be fully invested in their arc in order for that sacrifice to have any power.

Our group is gathered. The men who will be our heroes. Yet they are not treated as such. When we reach the peasant village, it becomes clear that the samurai are not trusted. The peasants are just as scared of them as of the bandits. Maybe more so. It takes time, but soon enough things are underway, the samurai preparing for the bandits’ assault and the peasants learning that they must learn to defend themselves. Here we have a bountiful bevy of what have since become movie clichés; the training, the companionship, the unsteady trust, the battle plans. It’s wonderful stuff, building towards a rousing, action-filled third act that would change the way action films looked forever.

All of this works because Kurosawa ignored no detail. He played sound to perfection. Pushed his cast for scenery-chewing performances.Used dynamic camera techniques to convey motion like none ever had before. And framed each shot somasterfully, practically every frame of this film is worthy of a poster. Thestruggles of the peasants and samurai are presented not in terms of black and white, but wide swaths of gray. There is moral ambiguity here that helps ground us in reality, a reality that makes the impending attack seem all the more threatening. The story unfolds in such a way that when the attack finally comes, the suspense is near unbearable. Despite clocking in at 200 minutes, every scene serves a larger purpose; building character, foreshadowing laterevents, setting tone and mood, or orienting the viewer in the worldKurosawa has created. We take a grand journey with these characters. We bear witness to their struggles, and ultimately feel as deflated by their empty triumph as Kambei, despite the joy we feel at seeing the blissful unity of the peasants in the final scenes.

In a tribute to the film, director Sidney Lumet wrote, “It is the aspiration persisting against impossible odds that reveals human nature at its best. Nowhere is this more true than in Seven Samurai.” It’s a keen observation that cuts to the heart of what Seven Samurai is. It is an affirmation of the human spirit that bears a strikingresemblance to the message of Kurosawa’s previous film, the very different Ikiru. Namely, that to face the unfaceable, and to do so with all the vigor your spirit can muster, is to live.

Trying to sum up a movie this big is no easy feat. Trying to illustrate why it is so respected, admired and influential is beyond my meager talents. What I am capable of, however, is simply this: telling you that few are the films that can reach the incredible heights Akira Kurosawa reaches with this masterpiece. Seven Samurai is a film no lover of cinema should miss.

Disc Presentation
Kurosawa’s films have not been blessed with great transfers over the years. Prints have not always been treated well, archives have not been given the respect they deserve, and too many transfers have come from inferior, multi-gen prints.

That is why this new restoration is such a treat. Kurosawa’s masterful photography has never looked better. The print is as free from scratches, flaws and defects as I’ve ever seen it. This is a big step up from the initial Criterion release, which did not do full justice to this masterpiece. Previously muddy images are now crisp and clean; hints of artifacting are a thing of the past; and washed out blacks and greys now have a weight previously lacking. In short, it looks great. For this new restoration alone, this is a worthwhile release.

The audio fares just as well. In addition to the original mono, there is an optional Dolby Digital surround track. No complaints about this experiment, but I’d suggest sticking with the mono track. While the attempt at surround is worthwhile, Kurosawa knew just what he was doing; the audio design on Seven Samurai is a noteworthy example of how to make mono work, and is very much a part of experiencing how and why this film was so influential. The mono track is bold, clear, and offers punch in all the right places.

The subtitles undergo a revision, too, and once again, the film is all the better for it. This is the fourth different translation I have seen; it ranks second only to a theatrical print I saw several years ago. The language is a bit richer, more natural, and more colorful than that featured in Criterion’s previous release. There was nothing at all wrong with the subtitles on Criterion’s first Seven Samurai release, so this change came as something of a surprise, but it is an upgrade worth noting.

Disc Extras
It should come as no surprise to hear that Criterion’s deluxe treatment of Seven Samurai is deluxe indeed. This three-disc set is teeming with special features, all of them highly worthwhile. There is no filler to be seen here. Avid DVD buyers wary of double-dipping should not second guess the urge to purchase this film a second time. With hours of fantastic material on hand, this release packs quite a value.

Let’s take a look at what is inside:

Disc one
Audio commentary by Japanese-film expert Michael Jeck – This feature will ring familiar to those with the initial Criterion release of Seven Samurai, as it was featured there, too. Jeck’s commentary is sometimes on the dry side, his tone at times lacking life, but one cannot deny the informational punch it packs. This commentary is very typical of what you’ll find on Criterion discs: dense with enlightening observations, historical lessons and cinematic minutia, but with a scholarly, academic tone that might be off-putting at first, yet which is ultimately worth the time investment. I’m glad Jeck’s work made the migration to the new release, as it’s a worthwhile way to spend 200 minutes.

Audio commentary by film scholars David Desser, Joan Mellen, Stephen Prince, Tony Rayns and Donald Richie – In this all-new commentary, we have an all-star cast of commentators, each handling a stretch of Kurosawa’s epic film. This track is a delight. Spending 200 minutes with any one commentator can begin to wear thin – one suffers from such fatigue when listening to Jeck’s – making Criterion’s choice to bring in an array of scholars a good one for a film of this length. I loved it. I’ve heard and enjoyed commentaries by Prince and Richie before, so it came as no surprise that their contributions were worthwhile. Each offer insight to Kurosawa’s technique, directorial approach and status in cinema history. I especially enjoyed Desser, who opened the film. His love for the material really comes across; his academic knowledge is tempered with an enthusiasm that makes listening a pleasure. Mellen and Rayns also deliver fine tracks; typical of Criterion tracks, they are intelligent, relatively low-key, but highly informative. Despite having seen the film many times already, they managed to open my eyes to previously unnoticed themes and techniques.

Trailers & Galleries – Here we have a fine collection of posters, production stills, and trailers.

Disc Two
Audio commentaries – Obviously, all commentaries continue on to the second disc of this release.

Akira Kurosawa: It Is Wonderful To Create: Seven Samurai – Similar to those found on theCriterion releases of Ikiru, Kagemusha and Ran, this is a 50-minute documentary taken from the massive Toho Masterworks series, Akira Kurosawa: It Is Wonderful ToCreate, a sprawling look at the director’s life and works. This feature is a real treat, offeringrare stills, interviews with those involved in the production of the film, and the thoughts of Kurosawa himself. As entertaining as previous installments of this series have been, this one stands out as the best – no doubt in part due to the subject matter. We visit the very room in which Kurosawa, Shinobu Hashimoto, and Hideo Oguni hammered out the script that would become legend. We talk with members of the crew. And we hear anecdotes about the sometimes harrowing production. Seeing this makes me wish the entire It Is Wonderful To Create series would be released on DVD. (Hey Criterion: Hint, hint.)

Disc Three
My Life In Cinema – This is a two-hour interview with Kurosawa, filmed in 1993, when the director was in the twilight of his life. Upbeat and entertaining, interviewer Nagisa Oshima probes for the creative heart of a man who made more triple-A films than all but a sparse few directors in the history of cinema. Kurosawa is open and honest, talking freely about his hopes, ambitions, flaws and strengths. For instance, late in life Kurosawa’s paintings became much beloved works of art in their own right, yet Kurosawa shrugs and cannot understand the fuss. They were, he explains, paintings created only to help illustrate what he envisioned for his crew. He considered himself a failed visual artist. Ask him about his films, though, and it becomes clear this is not a man prone to false modesty. He knows he has entertained millions and influenced countless directors. This pleases him, and he does not mind saying so. Yet he never comes across as arrogant or aloof; rather, he is a man looking back on his life and assessing it for what it is. A fascinating two hours that should be watched by any admirer of his work.

Seven Samurai: Origins And Influences – Here we have a documentary commissioned by Criterion, clocking in at roughly 40 minutes, and offering a nice look into early Japanese samurai films. As the title suggests, the focus here is probing into the historical realities of the samurai period, Japanese traditions when it comes to telling stories of the samurai, and the early Japanese films that influenced Kurosawa. Commentators both Japanese and English put into context why Seven Samurai was an important film and what made it stand out from that which came before.

Disc Packaging
It’s worth taking some space to talk about the packaging. I’m something of a sucker for a strong presentation, and when it stands out it is worth nothing. This three-disc set comes in a cardboard slipcase with a foldout disc holder.The outside packaging is simple, yet elegant, featuring the flag the titular samurai fly over the peasant village. The interior features well-chosen stills from the film, and the layout is quite attractive.

Also included is a handsome booklet on Kurosawa and Seven Samurai featuring essays and tributes from such luminaries as Sidney Lumet, Toshiro Mifune, and Peter Cowie. The booklet reaches and exceeds Criterion’s high standards, packing plenty of content inside its attractive design. Lumet’s essay is especially powerful. Top marks for this excellent inclusion.

The Bottom Line
One cannot overstate the case: Seven Samurai is one of the greatest films in the history of cinema. Here, Criterion gives this stunning and influential classic the treatment it deserves. With a beautiful new transfer, stellar presentation and a cornucopia of fantastic extras, no respectable cinephile should be without this dazzling release. Worth every penny and then some.