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Seven Samurai (Japanese, 1954)

Updated: Mar 4

Seven Samurai, directed by the renowned Japanese filmmaker, Akira Kurosawa, narrates the story of a valiant battle fought by a group of villagers and samurai against bandits in late 16th century Japan.




The plot


The film, set in 1587, begins when the resident from a small village of about 20 homes, overhears some bandits planning to attack the village after the barley harvest. The village elder Gisaku (played by Kokuten Kōdō) suggests an audacious plan that the villagers recruit samurai to fight the bandits. This improbable David versus Goliath battle between a tiny village and forty bandits, set in medieval Japan, forms the storyline of one of the classics of world cinema.


The story unfolds in three parts:

  • the first part portrays the villagers recruiting the samurai team

  • the second part focuses on the planning for the upcoming battle

  • the third part culminates in the battle itself


Part 1: the recruitment


A band of villagers set out on a mission impossible to recruit samurai who will take up their commission merely for food. There will be no wealth or glory in this battle. Yet, quite improbably, they succeed in this mission.


The first samurai recruited by the villagers is Kambei Shimada (played by Takashi Shimura), a battle-weary samurai in the twilight of his career. The villagers witness Kambei's prowess when he rescues a seven-year-old boy held hostage by a madman. Disguised as a monk by shaving his head and donning a monk’s robe, Kambei approaches the madman, ostensibly bringing two bowls of rice for him and the boy. In a swift move, he kills the lunatic, showcasing his remarkable skill.


Kambei spent his youth in pursuit of glory but ended up on the losing side of battles most of his samurai career, leaving him weary of fighting. Initially hesitant, he eventually takes pity on the villagers and agrees to help them, despite the modest terms of their commission. He determines that seven samurai would be needed to defeat the band of forty bandits. Assuming the role of commander-in-chief, Kambei sets out to recruit the rest of the team.


The second samurai is a young man named Katsushirō Okamoto (played by Isao Kimura), who, after witnessing Kambei's impressive rescue, implores the senior samurai to take him on as a disciple. Initially, Kambei is reluctant to include Katsushirō in the team, considering him too inexperienced and the mission too humble to serve as a proper start to his career. However, Kambei eventually relents, and Katsushirō becomes one of the seven samurai.


The third samurai, Gorōbei Katayama (portrayed by Yoshio Inaba), is a skilled archer. Kambei devises a test where the candidate is led into a hut to meet him, with Katsushirō hidden behind the door, ready to strike. Kambei believes a true samurai will sense and avoid the attack. Gorōbei successfully passes the test by detecting the danger from Katsushirō's shadow, showcasing even greater skill than a previous samurai who had entered and tackled Katsushirō but declined the assignment, finding it too degrading to work for farmers in exchange for food. However, Gorōbei, impressed by Kambei's character, accepts the mission.


The fourth samurai is Shichirōji (played by Daisuke Katō), an old friend and lieutenant of Kambei. Shichirōji, obviously has great regard for his former boss, joining the crew despite there being no money or rank in this assignment.


The fifth samurai is Heihachi Hayashida (played by Minoru Chiaki), who has fallen on hard times and is found by Gorōbei chopping wood for money. Heihachi humorously introduces himself to Kambei as a humble warrior of the "wood chop school." Although Heihachi is an average swordsman, Gorōbei recruits him for his warm and friendly nature, remarking that such a disposition would be a treasure in hard times. This trait shines through when, while preparing for battle, Heihachi sews a samurai flag, believing that a battle without a flag to rally around feels incomplete.


The sixth samurai is Kyūzō (portrayed by Seiji Miyaguchi), a master swordsman whom Kambei observes during a duel with a determined opponent. Initially, they spar with wooden spears. When the challenger claims victory, Kyūzō calmly corrects him, stating that in a fight with real swords, he would already be dead. The challenger, undeterred, demands a match with real swords. Kyūzō agrees and swiftly kills him.


The seventh samurai, Kikuchiyo (played by Kurosawa's favored lead Toshiro Mifune), is actually not a samurai at all but is merely pretending to be one. Wild, undisciplined, and overly emotional, Kikuchiyo stands in stark contrast to the taciturn Kyūzō. After witnessing Kambei's remarkable rescue of the boy from the madman, Kikuchiyo begins to follow him. Kambei, seeing through Kikuchiyo's facade, questions his claim of being a samurai, leading Kikuchiyo to react with an exaggerated display of offended pride. Despite this, Kikuchiyo persists in following Kambei and his growing team of samurai.


As the team of six samurai expands, a villager, unaware of Kikuchiyo's prior interactions with the samurai, brings him to Kambei as a potential seventh member. In a drunken state, Kikuchiyo immediately fails Katsushirō's test to uncover a hidden attacker. In an attempt to prove his samurai status, Kikuchiyo presents a scroll detailing the lineage of a samurai family, claiming to be the youngest member named Kikuchiyo. Kambei dismisses this with a laugh upon noting that the scroll states Kikuchiyo was born in 1574, which would make him only 13 years old. Heihachi playfully takes Kikuchiyo's sword, prompting Kikuchiyo to chase him like a wild animal before collapsing, too intoxicated to continue.


With the barley harvesting season imminent, Kambei decides they cannot wait any further for the seventh samurai and leads the team towards the village. Kikuchiyo persists in following them and inserts himself into their activities, ultimately demonstrating his value in battle. Consequently, Kikuchiyo is never officially recruited into the team but earns recognition as an equal partner among his peers.


When the samurai finally arrive at the village, not a single villager comes out to greet them. Instead, the villagers retreat to their homes, fearful that the samurai may woo their women. It is then that Kikuchiyo, previously seen as a comedic figure, begins to demonstrate his value. He triggers the village alarm, tricking the villagers into thinking the bandits are attacking. When the frightened villagers emerge, Kikuchiyo mocks their lack of gratitude towards the samurai. The samurai appreciate Kikuchiyo's assistance, and Heihachi jests that there are indeed seven of them now. This marks the beginning of Kikuchiyo's integration into the team, though he has yet to earn their respect as a warrior.


Part 2: the battle plan


The bandits are expected as soon as the barley is harvested because it is the crop that they want. After Kambei surveys the four borders of the village, he develops both a defense  and an offense strategy.



The defense strategy is centered round the west, south and eastern borders of the village:


  • West: Kambei expecting the attack to most likely occur from the mountains that flank the western border of the village, directs Shichirōji to build a wooden fence to prevent horses from entering the village from the west.

  • South: The southern side comprises the agricultural fields, prompting the strategy to flood them post-barley harvest. Swift harvesting of the barley is essential to give enough time for the flooding but individual family-wise plot harvesting will be too slow. Therefore, the samurai organize squads to ensure a communal and efficient harvest of the plots.

  • East- on the eastern side of the village lies a bridge leading to three homes and a mill, where the village elder resides. Kambei's strategy involves evacuating these outlying homes and demolishing the bridge. This decision sparks concern among residents of the outskirts, who must sacrifice their homes for the protection of others. Kambei maintains that safeguarding the three peripheral homes is unfeasible for the samurai, stressing that the core 20 homes in the heart of the village are pivotal for its survival as a cohesive unit.


The offensive aspect of the strategy involves luring the bandits into the village from the north side and ambushing them with an army of villagers armed with spears, led by the seven samurai. The northern part of the village is a tranquil grove adorned with dense trees and flowers. Kambei deliberately leaves this area vulnerable to enemy attack. He explains that victory in battle necessitates both defense and offense. According to Kambei, every great castle requires a breach.


The samurai begin training the farmers for combat, transforming the harvesting squads into military units under each samurai's guidance.


Part 3: the battle


The battle plays out in six acts:


Act 1: the three scouts


The battle begins with the arrival of three bandits traveling along the winding western road through the mountains. These bandits, sent as scouts on a reconnaissance mission, become aware of the samurai due to the reckless actions of Kikuchiyo. Although fearless, Kikuchiyo’s lack of discipline inadvertently exposes their presence. To prevent the scouts from relaying this crucial information to their comrades, the samurai must eliminate them. Kikuchiyo, along with Kyūzō and Katsushirō, is assigned this task, giving him an opportunity to amend his mistake. Notably, this is the first time Kambei entrusts Kikuchiyo with a battlefield responsibility, marking the beginning of the samurais' acceptance of him as an equal member of their group.


Act 2: the attack on the bandit outpost


Next, the samurai launch a preemptive strike on the bandits' outpost. Kikuchiyo is once again at the forefront, part of a trio with Kyūzō and Heihachi, guided by Rikichi. Upon discovering the bandits sleeping, Kikuchiyo suggests setting their wooden shelter ablaze. As the bandits flee the burning structure, the samurai swiftly begin eliminating them. Amidst the chaos, the bandits' sex slaves also escape, and one of them is revealed to be Rikichi's wife. Overcome with shame upon seeing her husband, she runs back into the burning house to perish. Rikichi, in a desperate attempt to save her, comes under attack from the bandits. Heihachi, trying to protect Rikichi, is killed, becoming the first casualty among the seven samurai. It is ironic that Heihachi, recruited as a treasure for hard times, perishes just as those hard times commence. Heihachi, is buried under a mound on a ridge and Kikichuyo raises the flag that Heihachi had made to lift the morale of the team. The raising of the flag is a signal that this is no less a battle than grand battles fought with huge armies.


Act 3: the death of the village elder


The bandits arrive to attack the village but face repeated obstacles. Approaching from the mountains on the west side, their horses are unable to breach the fences. They then try from the south, only to find the fields flooded with water. When they reach the east side and discover the bridge dismantled, they vent their frustration by burning the three outlying houses and the mill. Amidst the flames, it is revealed that the elder had refused to evacuate the mill. In a desperate attempt to save him, his son and daughter-in-law lose their lives, but not before the mother entrusts their infant child to Kikichuyo.


Act 4: getting the muskets


At this point, the bandits have launched attacks from the south, east, and west, retreating in defeat each time. Confident that they will next strike from the north, Kambei deliberately leaves this side unguarded to lure them in. To test his theory, he places a mannequin dressed as a samurai on the north side. As anticipated, the bandits reveal themselves by shooting the mannequin.


Realizing that relying solely on swordsmanship and archery won't suffice against the bandits, who possess three muskets—advanced weaponry for the time—Kyūzō sets out and returns with one of the muskets. In his typical taciturn manner, he offers no explanation of how he acquired it, simply stating, "Two more to go."


Kikuchiyo, feeling the need to prove himself after hearing Katsushirō's effusive praise of Kyūzō, decides to procure a second musket. He tricks a bandit into thinking he is one of them and seizes the musket during a moment of confusion. However, instead of receiving admiration, Kikuchiyo is reprimanded by Kambei for seeking personal glory at the expense of his duties to the team.


Act 5: the trap on the north


The samurai train the village men to form a wall of spears to fend off the approaching bandits from the north. Strategically, they allow one or two bandits to break through, only to kill them. Eventually, the bandits catch on to this death-trap. Despite the overall success of the strategy, the samurai suffer their second casualty: Gorōbei is killed by a gunshot. Additionally, Yohei becomes another casualty. Kikuchiyo, who frequently teased Yohei, is devastated by his loss.


Act 6: the final battle


On the day of Gorōbei's martyrdom, Kambei, who has been keeping track of the bandits by crossing off circles representing each one as they are killed, determines that 13 remain. With their food supplies dwindling, he anticipates that the bandits will launch an all-out attack the next morning after resting for the night. On the eve of the decisive battle, the villagers reveal their hidden stockpiles of treats, including saké. The final battle is marked by an apocalyptic atmosphere, intensified by heavy rain. The samurai allow all 13 remaining bandits into the village for a fight to the finish. Katsushirō kills a bandit, and his emotional reaction indicates that this is his first kill.


Among the bandits, one carries a musket and, from the vantage point of a village home, shoots and kills Kyūzō. He also shoots Kikuchiyo, who dies, but not before avenging himself by killing his assailant. The battle concludes with Katsushirō hysterically crying out that all the bandits are dead. Of the seven samurai, only three survive: Kambei, Shichirōji, and Katsushirō.


Observations


Historical background


The samurai emerged in the 8th-12th centuries as professional warriors serving the imperial court and feudal lords in Japan. Eventually samurai formed their own martial bands. Their rise to formal power (as opposed to being merely hired hands) began in 1180 when the samurai Minamoto Yoritomo established the first shogunate, a military government. The leader of the shogunate was called the shogun, with the emperor merely being a figurehead. The Kamakura shogunate ruled from 1180-1333.


But by the 15th-16th centuries, in which this film is set, the power of the shogun had weakened, resulting in constant warfare between regional warlords, known as daimyo, who technically reported to the shogun but were pursuing their own agenda. The samurai, under these daimyo, came to dominate the social and military landscape of Japan.


The samurai depicted in Seven Samurai are rōnin, meaning masterless warriors who roamed the land seeking employment from those in need of skilled swordsmen. A samurai could find himself in this state due to circumstances such as the death of his master or his master's loss in a battle. To avoid becoming a rōnin, a samurai would typically seek service under a new lord (daimyo), often a relative of his former lord. However, if this was not possible or if the samurai felt strong loyalty to his deceased lord or his lord was defeated in battle, he would be expected to perform seppuku, a ritual suicide, as per bushido, the samurai code of honor.


The term rōnin which translates to wave man carries connotations of wandering or drifting, often viewed negatively. However, during the period this film is based, being a rōnin did not carry as much stigma because the balkanization of Japan among regional warlords created massive demand for freelance warriors. But by late 16th century, the forces of centralization were again ascendant. Toyotomi Hideyoshi, a man who used to work under a daimyo, was eventually successful in uniting Japan into a relatively peaceful federation of about 200 daimyos. Unification came again under the Tokugawa shogunate in 1603, ushering in a long period of peace during which samurai transitioned from active warriors to bureaucrats. Given the swing of pendulum back to central authority and less fighting, the demand for samurai as freelance warriors began collapsing. Hence, it is not surprising that the villagers were able to hire samurai willing to work for nothing but food in 1587, the year the film is based in.


The samurai era ended with the Meiji Restoration in 1868, which led to Japan's modernization and westernization. The samurai transitioned into roles in government, business, and the Japanese military.


The villagers


While the stars of the film are the samurai, Kurosawa takes care in fleshing out the characters of the villagers as well.


The men of the village, as can be expected from any community, lie on a spectrum of the courage continuum. At one extreme is the hothead Rikichi (played by Yoshio Tsuchiya) who becomes a key aide of the samurai. The source of Rikichi's smoldering anger is later revealed to be the tragic fact that his wife was forcibly taken by the bandits. At the other end of the spectrum is Yohei (played by Bokuzen Hidari), a timid old man, who does not want anything to do with the plan. Somewhere in the middle is Manzō (played by Kamatari Fujiwara), who unlike Yohei, does not complain but is a fatalist who believes that farmers are destined to suffer. He is also concerned that the samurai will seduce his daughter Shino (played by Keiko Tsushima), a well-founded fear since she eventually forms a sexual liaison with Katsushirō.


Another memorable character is Gisaku, the village elder, who is shrewd and determined. He instructs the villagers to find four samurai, predicting that they will return with more than the ten he estimates.


While, initially, the farmers appear to be mostly victims leading a brutally difficult life, over the duration of the film, we get a more nuanced view of them. On the one hand, there is a dark side to them when we learn that they have been hunting down and robbing defeated samurai. But in other ways, they are the heroes of the film as it is they who initiate the bold plan of fighting back with the help of the samurai


Kambei Shimada


While each samurai has a distinctive personality, Kambei's character is unforgettable. He is a natural leader who is skilled at identifying talent. For example, he knows Gorōbei is a skilled samurai just by observing him from a distance. When Katsushirō enthusiastically volunteers to administer the hidden attacker test to Gorōbei, Kambei tells  Katsushirō to go ahead for his own learning. Later, after observing Kyūzō's performance in a duel, Kambei pronounces that he is a man obsessed with testing the limits of his own skill.


Kambei, apart from being a skilled military leader, has a softer side. He sees a younger version of himself in Katsushirō and becomes a father figure to him. Many of us, who have spent our lives pursuing money and success can relate to Kambei's disillusionment. We feel his anguish when he tells Katsushirō "Hone your skill. Be a lord of your domain and castle. Before you know it, your hair will be gray, parents will be dead and you will all alone".


Another charming aspect of Kambei is his physical tic of rubbing his head. Since the very first scene showing Kambei depicts him being tonsured, this repeated allusion to his head provides a sense of continuity to his persona.


Kambei Shimada, despite being highly talented, has not succeeded by the traditional metrics of success for a samurai. Today, social media makes it appear that success is easy. Yet, throughout human history, as well as today, many worthy people do not succeed while many mediocre people can achieve great fame.


Katsushirō Okamoto


Katsushirō clearly comes from a wealthy family. During Kambei's recruitment of the team, the villagers' rice is stolen—a disaster, as rice is the currency they use to repay the samurai. In this crisis, Katsushirō provides the money to buy more rice. Like Kambei, Katsushirō's motivation for joining the mission isn't financial. However, while Kambei is driven by compassion, Katsushirō's actions stem from his admiration for Kambei. As a young man seeking role models, his deference partially shifts to Kyūzō as the story unfolds.


Despite Katsushirō's fascination with military masculinity, he remains a callow youth easily smitten by Manzō's daughter, Shino, and often distracted by romantic desires. While he maintains a macho facade, he is, deep down, a sentimental soul moved by the suffering of others. This is evident in his generosity, whether he's giving money to the villagers or sharing his food with an impoverished old woman who has lost her family to the bandits.


Kikichuyo


Though Seven Samurai is an ensemble film, Kikichuyo is definitely the male lead. He is characterized by a highly physical manner of expression, aptly described by another character as resembling a wild dog. This trait is evident from the beginning. After Kambei kills the madman, Kikichuyo jumps around the body, poking it with a sword. When he later follows Kambei, he communicates more through his animated physicality than words, leaping around and making exaggerated gestures. Throughout the film, Kikichuyo's energetic movements persist, including scratching various body parts and, like Kambei, his head.


Kikichuyo's revelation of his true identity unfolds gradually. In the first phase, he adamantly claims to be a samurai, even producing a stolen family tree to support his assertion.


In the second phase, he subtly acknowledges that his real name isn't Kikichuyo by telling the other samurai they can call him whatever they wish.


In the third phase, he hints strongly at his origins by emotionally defending the morally ambiguous actions of the farmers. Kikichuyo compels the villagers to reveal the weapons they had looted from defeated samurai over the years. When the six samurai express their disgust at the idea of using such dishonorably acquired weaponry, Kikichuyo passionately argues that the farmers were driven to these actions as a defense against the repeated cruelties inflicted upon them by the samurai. After delivering this heartfelt speech, Kikichuyo breaks down. Kambei, sensing the truth, asks him to confirm that he was born a farmer, but Kikichuyo remains silent.


Finally, in a cathartic moment, Kikichuyo, holding the elder's grandson whose family was just killed by bandits, explicitly states that he was once like that baby—a farmer's orphan.


The samurai flag and Kikichuyo


Kikichuyo's position is unique in that he is bridge between the farmers and the samurai. This is visually illustrated somewhat mischievously by Heihachi in the samurai flag:



The flag contains six circles, a triangle and a symbol at the bottom. The circles represent the real samurai. The figure at the bottom symbolizes paddy and hence represent the farmers. The triangle in the middle is Kikichuyo, the bridge between the samurai on top and farmers at the bottom.


Despite his claim of being one of them, Kikichuyo harbors deep resentment towards the samurai for their treatment of farmers. At one point, disgusted with the samurai, he chooses to sleep in the barn with the villagers who have given up their homes to accommodate the warriors. Coming from a farmer's family, Kikichuyo connects with the villagers in a way the samurai cannot. He endears himself to the village children with his playful antics and demonstrates practical skills, like fishing with his bare hands. When the samurai capture a bandit alive, Kikichuyo sides with the villagers, who want to kill the bandit, while the true samurai, adhering to their code of honor, would prefer to treat the captured man as a prisoner of war. When Yohei dies, it is Kikichuyo, who is most distraught.


Unlike the villagers, however, Kikichuyo is not timid; he fights boldly, though without discipline, in battle. While he understands the farmers, he is also frustrated by their timidity, helplessness, and guile. Since, Kikichuyo is a farmer by birth, he considers any display of weakness from his brethren, a reflection on himself. His behavior may seem harsh, such as when he yells at the villagers to stop crying during Heihachi's funeral or scolds a destitute old woman for complaining. Yet, it is this refusal to be a helpless victim that drives Kikichuyo's impersonation of a samurai.


Kikichuyo The Samurai


Kikuchiyo's evolution from a clownish figure to a courageous warrior respected by the samurai is a standout element of the film. Sensitive about his status, Kikuchiyo often takes offense easily. For example, he feels slighted when Heihachi's flag shows six circles for each samurai but is embarrassed to learn that the triangle represents him. His insecurity drives him to retrieve a second musket, striving to prove himself as equal to Kyūzō. However, over time, Kikuchiyo no longer needs to seek respect; he naturally earns it from the samurai. On the eve of the final battle, Kambei offers Kikuchiyo saké and, seeing him upset over Yohei's death, encourages him to return to his spirited self, ready for battle. This moment marks a complete reversal from their initial encounter.


David and Goliath


The bandits outnumber the samurai, 40 to 7. On a side note, I wonder whether Kurosawa was alluding to the Alibaba story, in settling on 40 bandits. Despite their numerical superiority and access to muskets, the bandits are defeated. The primary reason the samurai prevail is their strategic planning. Some highlights include:


  • the defensive moats build around the village

  • the setting up of the trap on the north side

  • intentional abandonment of the outlying areas to concentrate scarce resources within a smaller geographical area

  • the training of villagers to form a defensive wall of spears

  • concealment of the existence of samurai by killing the scouts

  • the seizure of the muskets to level the playing field in weaponry

  • the meticulous tracking of how many bandits are alive

  • the use of a mannequin to trick the bandits in revealing their attack plan

  • compelling the bandits into a final attack despite being in a weakened position, as they are running out of food and manpower


Harmony vs. ambition


A farmer's life, though marked by deprivation and hardship, flows in harmony with nature's rhythms. As the paddy season begins, they sow the seeds, nurturing them until the time comes for a joyful harvest. Then, with equal reverence, they move to the barley season, repeating the cycle of seeding and harvesting. Their existence is beautifully cyclical, a continuous rebirth in tune with the earth. In contrast, the samurai, much like today's corporate warrior, follow a linear path. Their lives are driven by the relentless pursuit of power and wealth. This linear journey, focused on accumulation and progress, often leads to inevitable disappointment, as it is against the nature of the human spirit to find lasting fulfillment in such a trajectory.


The final scene of the film illustrates the distinction between the lives of the farmers and the samurai. The farmers are joyfully planting rice, accompanied by music, and even Rikichi, the angry young man, is smiling. In stark contrast, the three surviving samurai—Kambei, Katsushirō, and Shichirōji—stand somberly by the graves of their four fallen comrades. Kambei, sounding almost regretful, remarks to his longtime lieutenant Shichirōji that they have managed to survive yet another battle. Katsushirō, meanwhile is wistfully looking at Shino, knowing that the vast social gulf between them is unbridgeable.


Seven Samurai is an epic film interweaving a David and Goliath plot with numerous sub-plots, unforgettable characters, stunning visuals and beautiful music. With its marathon running time, it is important for first-time watchers to free up their calendars so that they can see it one sitting.


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