2004 episode
directed by Toshifumi Takizawa and Jiro Fujimoto
written by Atsuhiro Tomioka and Shuichi Koyama
based on the film SEVEN SAMURAI by Akira Kurosawa, Shinobu Hashimoto, Hideo Oguni
(1954 film)
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With Kanbei and the team of Katsushiro and Kikuchio each on separate missions to locate the hidden Capital and recover the kidnapped women and children of several villages, steady Shichiroji and good-natured Heihachi have decided to stick with the town of Kanna for the moment, to help rebuild in the wake of their war with the bandits. Everything seems to be settling nicely, but then a conflicted Rikichi, still recovering from his injuries, tries to sneak past them with the swords of the fallen Gorobei. Earlier in the series, we saw the peasant take an unfamiliar sword in his hands and begin practicing in the art of a fighter, so it's great to see that thread continue to play out, suggesting he may follow in Kikuchio's footsteps as a farmer-turned-samurai. And it's great that the other two seem willing to join him on yet a third mission toward the same goal, but I wonder how our humble farmer will react when he learns his kidnapped wife is now the loving mistress of the Emperor ... and with child.
Speaking of the Emperor, we finally got to meet him in the last episode. Following the era of nonstop wars, he fell out of sight as the rule of merchants rose to unify the people in a corporation of peace. Of course, he's still pulling all the strings in the background, using the bandit raids on farmers to keep them in their place so they won't give the merchants competition. Oh, and it's also worth mentioning that he's trapped in a dwarfish, crippled body that moves and speaks through a mechanized capsule. It's implied that he's never once touched the outside world, which adds even more depth when ...
Ukyo, the gallant, sociopathic son of a magistrate, is brought before the Emperor for some intriguing revelations. As he's not physically capable of making love, it seems the Emperor, over time, had his seed implanted in dozens of women with the hope of one day finding the perfect heir: a clone of himself free from the disease that keeps him confined. So far, 48 of those offspring have attended a rite of inquiry, and all 48 have failed, leading to their executions. We learn Ukyo is the 49th, different from the others because he began life as a peasant; an intentional move to let him see the inner workings of life on the street. As his rite of inquiry begins, we learn just how deeply the young man's roguish recklessness has hidden a shrewd, politically ingenious mind.
All in all, yet another fantastic episode. We're completely out of the Kurosawa material by now, and the creative team once again shows just how thoroughly they studied the filmmaker by giving us original chapters that capture the same wit, layers, and flourish the master excelled at.
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October 28, 2009
Samurai 7 #18: The Emperor
2004 episode
directed by Toshifumi Takizawa and Hiroyuki Okuno
written by Atsuhiro Tomioka
based on the film SEVEN SAMURAI by Akira Kurosawa, Shinobu Hashimoto, Hideo Oguni
(1954 film)
(previous)
(next)
Though they've already worked through the central plot of the film, there's one element they hadn't touched, and it's interesting that it would be the one to carry us into an original continuation of the story. Kanbe, having vowed to track down Rikichi's stolen wife, Sanae, set out by himself to find her and the hidden Capital that was the driving force behind the bandit raids. Taking the fall for a crime he didn't commit so as to gain entrance, Kanbe not only finds a content Sanae living in the lap of luxury, but finally comes face to face with the long-absent Emperor.
Meanwhile, back at the village, young Katsushiro and boisterous Kikuchiyo feel as though they've been excluded from Kanbe's plans and set out on their own to find the Capital and recover the kidnapped women. It's great to see the dynamics of the fellowship continue beyond their breakup, but I have a little problem with who they bring along. Kirara I can understand because she still feels in debt to the heroes and her powers of foresight may come in handy, but Komachi? I'm sorry, but the last person I'd bring along on an assault of the Emperor's hidden fortress is a rambunctious little kid.
Elsewhere, because you just can't have enough good plot threads, the psychopathic Ukyo continues taking advantage of his magistrate father's absence by holding our heroes' protection of Kanna Village up as an example of what society would be like under his rule. He rallies together dozens of samurai and orders them off to other farming villages to take out any bandit hordes that remain. Unfortunately, these are the jailed samurai who took advantage of our farmers early in the series, so I doubt they'll treat the villages with the same respect as our heroes.
Another great, great episode that gets the ball rolling on some fine original threads which cleverly pick up where the adapted material left off.
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directed by Toshifumi Takizawa and Hiroyuki Okuno
written by Atsuhiro Tomioka
based on the film SEVEN SAMURAI by Akira Kurosawa, Shinobu Hashimoto, Hideo Oguni
(1954 film)
(previous)
(next)
Though they've already worked through the central plot of the film, there's one element they hadn't touched, and it's interesting that it would be the one to carry us into an original continuation of the story. Kanbe, having vowed to track down Rikichi's stolen wife, Sanae, set out by himself to find her and the hidden Capital that was the driving force behind the bandit raids. Taking the fall for a crime he didn't commit so as to gain entrance, Kanbe not only finds a content Sanae living in the lap of luxury, but finally comes face to face with the long-absent Emperor.
Meanwhile, back at the village, young Katsushiro and boisterous Kikuchiyo feel as though they've been excluded from Kanbe's plans and set out on their own to find the Capital and recover the kidnapped women. It's great to see the dynamics of the fellowship continue beyond their breakup, but I have a little problem with who they bring along. Kirara I can understand because she still feels in debt to the heroes and her powers of foresight may come in handy, but Komachi? I'm sorry, but the last person I'd bring along on an assault of the Emperor's hidden fortress is a rambunctious little kid.
Elsewhere, because you just can't have enough good plot threads, the psychopathic Ukyo continues taking advantage of his magistrate father's absence by holding our heroes' protection of Kanna Village up as an example of what society would be like under his rule. He rallies together dozens of samurai and orders them off to other farming villages to take out any bandit hordes that remain. Unfortunately, these are the jailed samurai who took advantage of our farmers early in the series, so I doubt they'll treat the villages with the same respect as our heroes.
Another great, great episode that gets the ball rolling on some fine original threads which cleverly pick up where the adapted material left off.
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October 27, 2009
Samurai 7 #17: Remembrance
2004 episode
directed by Toshifumi Takizawa and Hiroyuki Okuno
written by Atsuhiro Tomioka
based on the film SEVEN SAMURAI by Akira Kurosawa, Shinobu Hashimoto, Hideo Oguni
(1954 film)
(previous)
(next)
As our last episode came to a close, the village suffered much damage and some striking losses, but, through the actions of the samurai as well as the bravery of the farmers themselves, the bandits were vanquished. But not without the samurais' number now dropping to six as Gorobei, the street performer who could deflect arrows, tried the same with a bullet and failed. As the rains clear from the heavens and the villagers pick up the pieces, we find ourselves treated to a clipshow.
Now, normally, I loathe clipshows and find the dedicating of an entire episode to recapping past events to be a terrible waste of time and resources; here, however, it largely works. With Kanbe mysteriously disappearing, the other samurai decide to help the villagers with repairs, and the old footage brings to life everybody's reflection of past events and uncertainty of where to go from here. The boisterous, mechanical Kikuchiyo is especially jaded by Gorobei's death and sincerely asks one person after another "What is a samurai?"
And it seems we've finally gotten to the end of Katsushiro's main arc of learning to deal with his chosen profession as bringer of death. He now knows what it means and the consequences of his actions, but there seems to be a determination there we haven't seen in a while, and it'll be interesting to see how things go as he and Kikuchiyo, the first two samurai we met, though the last pair to be recognized by the larger group as such, team up for a future course of action.
And we also get a little peek back to the city we haven't seen in a while. It seems that Aymaro, the magistrate, is being brought up on charges for the death of an imperial envoy under his guard. His potential replacement? The psychopathic young Ukyo, who still has his sights set on Kirara. This will not end well.
I agree that it's a controversial decision for the series to have already covered the entire plot of the film with nine episodes left to go, but the creative team has pulled everything off with exceptional skill so far and I'm very intrigued to see where they go now that all we have left are elements of their own creation.
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directed by Toshifumi Takizawa and Hiroyuki Okuno
written by Atsuhiro Tomioka
based on the film SEVEN SAMURAI by Akira Kurosawa, Shinobu Hashimoto, Hideo Oguni
(1954 film)
(previous)
(next)
As our last episode came to a close, the village suffered much damage and some striking losses, but, through the actions of the samurai as well as the bravery of the farmers themselves, the bandits were vanquished. But not without the samurais' number now dropping to six as Gorobei, the street performer who could deflect arrows, tried the same with a bullet and failed. As the rains clear from the heavens and the villagers pick up the pieces, we find ourselves treated to a clipshow.
Now, normally, I loathe clipshows and find the dedicating of an entire episode to recapping past events to be a terrible waste of time and resources; here, however, it largely works. With Kanbe mysteriously disappearing, the other samurai decide to help the villagers with repairs, and the old footage brings to life everybody's reflection of past events and uncertainty of where to go from here. The boisterous, mechanical Kikuchiyo is especially jaded by Gorobei's death and sincerely asks one person after another "What is a samurai?"
And it seems we've finally gotten to the end of Katsushiro's main arc of learning to deal with his chosen profession as bringer of death. He now knows what it means and the consequences of his actions, but there seems to be a determination there we haven't seen in a while, and it'll be interesting to see how things go as he and Kikuchiyo, the first two samurai we met, though the last pair to be recognized by the larger group as such, team up for a future course of action.
And we also get a little peek back to the city we haven't seen in a while. It seems that Aymaro, the magistrate, is being brought up on charges for the death of an imperial envoy under his guard. His potential replacement? The psychopathic young Ukyo, who still has his sights set on Kirara. This will not end well.
I agree that it's a controversial decision for the series to have already covered the entire plot of the film with nine episodes left to go, but the creative team has pulled everything off with exceptional skill so far and I'm very intrigued to see where they go now that all we have left are elements of their own creation.
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Samurai 7 #16: The Storm
2004 episode
directed by Toshifumi Takizawa and Toru Yoshida
written by Atsuhiro Tomioka
based on the film SEVEN SAMURAI by Akira Kurosawa, Shinobu Hashimoto, Hideo Oguni
(1954 film)
(previous)
(next)
As the early morning sky is drowned out by a raging storm, the bandits make their move. Despite their strength and intelligence and skill, not even the samurai could have planned for an assault from multiple fronts by enemies with the unanticipated arms of grenades and napalm.
What follows is the ultimate battle. Kambei leads the charge. Kyuzo tries to keep him alive for their pending duel. Gorobei tries to slice a bullet from the air. Heihachi supervises the farmers' meagre munitions. Kikuchiyo fights so hard that he shatters his massive sword. Katsushiro dashes from place to place, taking down the enemy as he spreads orders. Rikichi and several other farmers try to make use of one of the massive enemy guns. And Kirara uses the powers of her pendant to see and explain the horrific sounds to the women and children who are hidden away.
There truly is some spectacular stuff in here, and I fully applaud the creative team for realizing that the film's strategy of funnelling the bandits into a disposable line simply wouldn't work this time around, and coming up with a plan of attack that's intelligently vulnerable for both sides. My one gripe is a bit in the middle where we cut through each of the samurai as their ferocious fighting plays out in slow-mo to a soundtrack of little more than their heavy breathing. It's an interesting idea and could have been a very poetic image, but they never fully animated it, leaving it choppy and awkward.
But that's my only complaint. It's a fantastic episode as our heroes lose that gloss of perfection in the face of devastating odds. Come next episode, the samurai will no longer stand at seven.
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directed by Toshifumi Takizawa and Toru Yoshida
written by Atsuhiro Tomioka
based on the film SEVEN SAMURAI by Akira Kurosawa, Shinobu Hashimoto, Hideo Oguni
(1954 film)
(previous)
(next)
As the early morning sky is drowned out by a raging storm, the bandits make their move. Despite their strength and intelligence and skill, not even the samurai could have planned for an assault from multiple fronts by enemies with the unanticipated arms of grenades and napalm.
What follows is the ultimate battle. Kambei leads the charge. Kyuzo tries to keep him alive for their pending duel. Gorobei tries to slice a bullet from the air. Heihachi supervises the farmers' meagre munitions. Kikuchiyo fights so hard that he shatters his massive sword. Katsushiro dashes from place to place, taking down the enemy as he spreads orders. Rikichi and several other farmers try to make use of one of the massive enemy guns. And Kirara uses the powers of her pendant to see and explain the horrific sounds to the women and children who are hidden away.
There truly is some spectacular stuff in here, and I fully applaud the creative team for realizing that the film's strategy of funnelling the bandits into a disposable line simply wouldn't work this time around, and coming up with a plan of attack that's intelligently vulnerable for both sides. My one gripe is a bit in the middle where we cut through each of the samurai as their ferocious fighting plays out in slow-mo to a soundtrack of little more than their heavy breathing. It's an interesting idea and could have been a very poetic image, but they never fully animated it, leaving it choppy and awkward.
But that's my only complaint. It's a fantastic episode as our heroes lose that gloss of perfection in the face of devastating odds. Come next episode, the samurai will no longer stand at seven.
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Samurai 7 #15: The Gun and the Calm
2004 episode
directed by Toshifumi Takizawa and Makoto Sokuza
written by Atsuhiro Tomioka
based on the film SEVEN SAMURAI by Akira Kurosawa, Shinobu Hashimoto, Hideo Oguni
(1954 film)
(previous)
(next)
Having totally wiped out the first wave of attackers, destroyed the bandits' massive pair of floating headquarters, and killed several of their main generals, the last thing our heroes want to do is let the villagers get complacent. This was far from a final victory as they know the bitter bandits will quickly regroup to seek revenge.
After the non-stop action last episode, this is yet another necessary little breath-catcher in the wake of the looming war. The samurai force themselves to down a bitter farming dish as they give over their rice to the villagers. The children race around with the boisterous Kikuchiyo. Kirara prays to the spirits of her parents. And Kyuzo goes scouting to get a sense of the enemy's current strength, and see if he can do anything about one of their rare guns.
The thread about Katsushiro accepting the death he's brought takes some nice new steps as he gains some important lessons about perception from Heihachi who, despite being a bit older and having taken part in the great war, had never killed anybody before this day's events, either. Though I'm sure some see this little character arc as dragged out, I find it quite necessary. The lessons Katsushiro is absorbing are important for the path he's chosen, and we get the sense that all the older samurai were once in his shoes.
It's another great episode. And as people get what sleep they can and huddle away from the approaching rain clouds, the tension of the gathering storm looms over all.
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directed by Toshifumi Takizawa and Makoto Sokuza
written by Atsuhiro Tomioka
based on the film SEVEN SAMURAI by Akira Kurosawa, Shinobu Hashimoto, Hideo Oguni
(1954 film)
(previous)
(next)
Having totally wiped out the first wave of attackers, destroyed the bandits' massive pair of floating headquarters, and killed several of their main generals, the last thing our heroes want to do is let the villagers get complacent. This was far from a final victory as they know the bitter bandits will quickly regroup to seek revenge.
After the non-stop action last episode, this is yet another necessary little breath-catcher in the wake of the looming war. The samurai force themselves to down a bitter farming dish as they give over their rice to the villagers. The children race around with the boisterous Kikuchiyo. Kirara prays to the spirits of her parents. And Kyuzo goes scouting to get a sense of the enemy's current strength, and see if he can do anything about one of their rare guns.
The thread about Katsushiro accepting the death he's brought takes some nice new steps as he gains some important lessons about perception from Heihachi who, despite being a bit older and having taken part in the great war, had never killed anybody before this day's events, either. Though I'm sure some see this little character arc as dragged out, I find it quite necessary. The lessons Katsushiro is absorbing are important for the path he's chosen, and we get the sense that all the older samurai were once in his shoes.
It's another great episode. And as people get what sleep they can and huddle away from the approaching rain clouds, the tension of the gathering storm looms over all.
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October 21, 2009
Samurai 7 #14: Run Wild
2004 episode
directed by Toshifumi Takizawa and Futoshi Higashide
written by Atsuhiro Tomioka
based on the film SEVEN SAMURAI by Akira Kurosawa, Shinobu Hashimoto, Hideo Oguni
(1954 film)
(previous)
(next)
As our last episode came to a close, the villagers kneeled before the enraged bandit horde, pleading for forgiveness. Three of our heroes were missing, three were tied up, and Kikuchiyo's mechanical noggin was resting in a basket.
It was one hell of a cliffhanger, and a nice twist following our heroes' first strike, but, predictably, it was all a clever ruse as the samurai now infiltrate the enemies' massive, mobile fortress, pulling themselves together, making introductions to their foes, and striking one hell of a strategic blow. It's all great stuff, executed with the skill I've come to expect from this show.
A particular bit I'd like to note is Katsushiro, the young samurai-in-training. A few episodes ago, he was torn up after having to make his first kill. Here, he's still grasping with the course he's chosen as he has to dive into his first real "kill or be killed" battle. I love how they've played this element of his role up much more than the film, allowing the new character to grow beyond his namesake.
I must say, though, that I'm surprised we've yet to have a death among our heroes. That's not really a criticism as there's nothing wrong with keeping them alive, nor do I want to see any go so quick, but this was around the point in the film where Kurosawa stripped the seven of one number, just so we don't feel too certain of their likely victory. I'm sure something will happen in the next few episodes.
Anyway, great, great work all around. No complaints. And a nice big "LOL" at Kikuchiyo for running through the big battle, eagerly calling for his lost katana so he could join the fray.
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directed by Toshifumi Takizawa and Futoshi Higashide
written by Atsuhiro Tomioka
based on the film SEVEN SAMURAI by Akira Kurosawa, Shinobu Hashimoto, Hideo Oguni
(1954 film)
(previous)
(next)
As our last episode came to a close, the villagers kneeled before the enraged bandit horde, pleading for forgiveness. Three of our heroes were missing, three were tied up, and Kikuchiyo's mechanical noggin was resting in a basket.
It was one hell of a cliffhanger, and a nice twist following our heroes' first strike, but, predictably, it was all a clever ruse as the samurai now infiltrate the enemies' massive, mobile fortress, pulling themselves together, making introductions to their foes, and striking one hell of a strategic blow. It's all great stuff, executed with the skill I've come to expect from this show.
A particular bit I'd like to note is Katsushiro, the young samurai-in-training. A few episodes ago, he was torn up after having to make his first kill. Here, he's still grasping with the course he's chosen as he has to dive into his first real "kill or be killed" battle. I love how they've played this element of his role up much more than the film, allowing the new character to grow beyond his namesake.
I must say, though, that I'm surprised we've yet to have a death among our heroes. That's not really a criticism as there's nothing wrong with keeping them alive, nor do I want to see any go so quick, but this was around the point in the film where Kurosawa stripped the seven of one number, just so we don't feel too certain of their likely victory. I'm sure something will happen in the next few episodes.
Anyway, great, great work all around. No complaints. And a nice big "LOL" at Kikuchiyo for running through the big battle, eagerly calling for his lost katana so he could join the fray.
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October 14, 2009
Samurai 7 #13: The Attack
2004 episode
directed by Toshifumi Takizawa and Yoshikata Nitta
written by Atsuhiro Tomioka
based on the film SEVEN SAMURAI by Akira Kurosawa, Shinobu Hashimoto, Hideo Oguni
(1954 film)
(previous)
(next)
After days of preparation - building fortifications, mapping out strategies, and training the villagers in archery - it all begins as the hulking, mechanical bandits appear on the horizon ... in far greater numbers than everyone was expecting. Time to break out that half-mile-long crossbow Heihachi's been building.
It's yet another great episode, allowing the change in setting and technology to alter the samurai's strategy without losing any of the depth and build-up Kurosawa handled so well. I was wondering how that giant crossbow would end up playing into events, and its use makes for one hell of a rich, unforgettable sequence.
Another great addition to the story comes in the form of Rikichi. He's largely presented as he was in the original film, as the first farmer willing to fight in the name of the wife he lost to the bandits, but they take it a little deeper this time around. Here, he not only starts getting sword lessons from the boisterous, cybernetic samurai Kikuchiyo, but actually breaks down and begs to learn where he himself can get his body replaced by machines, so as to better cut down the bandits who haunt his life and village. It's a great thread, and opens up a bit of regret on Kikuchiyo's part.
I have a few problems this time around, but I guess they're somewhat consistent with the setting, so it's likely just my personal opinion. First, after the villagers shoot down their first wave of bandits, they all break down with the realization that they've just killed people. I can understand that reaction from some of them, but it shouldn't be so uniform. Plus, they didn't have to kill a man up close like Katsushiro. All they did was fire a bunch of arrows at flying metal trash bins and watch them explode.
Secondly, why don't the women get to fight? I know, I know, this fits the backwater society of the village, but it also raises the question of why all the women are so beautiful and soft. In the original film, as in reality, the women were right alongside the men in the rice paddies, and had builds representing the equal labor. Here, they're all gorgeous and smooth. What I'm saying is A) they should look like they do just as much labor around town as they do, and B) that would leave them just as capable at swinging spears and shooting arrows as the dudes.
I'm not trying to get on a high horse of feminism here, but these bits just don't add up in the end. It's not a glaring flaw, though, and, those bits aside, it's still a fantastic episode as everyone rallies together and the battle finally begins.
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directed by Toshifumi Takizawa and Yoshikata Nitta
written by Atsuhiro Tomioka
based on the film SEVEN SAMURAI by Akira Kurosawa, Shinobu Hashimoto, Hideo Oguni
(1954 film)
(previous)
(next)
After days of preparation - building fortifications, mapping out strategies, and training the villagers in archery - it all begins as the hulking, mechanical bandits appear on the horizon ... in far greater numbers than everyone was expecting. Time to break out that half-mile-long crossbow Heihachi's been building.
It's yet another great episode, allowing the change in setting and technology to alter the samurai's strategy without losing any of the depth and build-up Kurosawa handled so well. I was wondering how that giant crossbow would end up playing into events, and its use makes for one hell of a rich, unforgettable sequence.
Another great addition to the story comes in the form of Rikichi. He's largely presented as he was in the original film, as the first farmer willing to fight in the name of the wife he lost to the bandits, but they take it a little deeper this time around. Here, he not only starts getting sword lessons from the boisterous, cybernetic samurai Kikuchiyo, but actually breaks down and begs to learn where he himself can get his body replaced by machines, so as to better cut down the bandits who haunt his life and village. It's a great thread, and opens up a bit of regret on Kikuchiyo's part.
I have a few problems this time around, but I guess they're somewhat consistent with the setting, so it's likely just my personal opinion. First, after the villagers shoot down their first wave of bandits, they all break down with the realization that they've just killed people. I can understand that reaction from some of them, but it shouldn't be so uniform. Plus, they didn't have to kill a man up close like Katsushiro. All they did was fire a bunch of arrows at flying metal trash bins and watch them explode.
Secondly, why don't the women get to fight? I know, I know, this fits the backwater society of the village, but it also raises the question of why all the women are so beautiful and soft. In the original film, as in reality, the women were right alongside the men in the rice paddies, and had builds representing the equal labor. Here, they're all gorgeous and smooth. What I'm saying is A) they should look like they do just as much labor around town as they do, and B) that would leave them just as capable at swinging spears and shooting arrows as the dudes.
I'm not trying to get on a high horse of feminism here, but these bits just don't add up in the end. It's not a glaring flaw, though, and, those bits aside, it's still a fantastic episode as everyone rallies together and the battle finally begins.
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October 13, 2009
Samurai 7 #12: The Truth
2004 episode
directed by Toshifumi Takizawa and Inuo Inukawa
written by Atsuhiro Tomioka
based on the film SEVEN SAMURAI by Akira Kurosawa, Shinobu Hashimoto, Hideo Oguni
(1954 film)
(previous)
(next)
In our last episode, Manzo, the frightened villager, decided the best way to save himself and his daughter was to rat out our heroes to the bandit patrols. Not only was he caught, but the inexperienced young swordsman Katsushiro was forced to make his first kill by cutting down a bandit scout. This was a clever addition to the story, taking a shocking moment that happened near the end of the film and bumping it up so the young hero has a chance to know death in the face of the big battle rather than as a result of it. I'm curious to see how they'll play it out, and they get things rolling nicely as Kambei has to take a few precise jabs to make sure the boy accepts the lessons he's just chosen to learn.
And let's not forget about Manzo. As he's dragged before the other villagers, his betrayal now made public, there's much debate about whether or not to cut him down. The bumbling cyborg Kikuchiyo, of all people, is the one who sets everyone straight as he flies into a rant that shows just how much attention this creative team paid to Kurosawa's classic film. Just as was the case there, the actions of the samurai and the bandits aren't so clearly cut, with both having been responsible for raids and atrocities in the past, the samurai merely doing so in the name of war. This has lead to farmers that are paranoid and who hide away what they can because they don't know who's going to sweep in and try to take it.
With everyone pulling together, continuing with the fortification, training for battle, and even hoisting the classic battle standard, our village has finally rallied around these heroes and risen up to fight alongside them instead of just hanging back while the samurai do all the work. All of this courtesy of a creative team that understands the layers that make up Kurosawa's works, the meticulous complexities that make every moment deep and essential.
Now we'll just have to see how it holds up as the battle begins.
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directed by Toshifumi Takizawa and Inuo Inukawa
written by Atsuhiro Tomioka
based on the film SEVEN SAMURAI by Akira Kurosawa, Shinobu Hashimoto, Hideo Oguni
(1954 film)
(previous)
(next)
In our last episode, Manzo, the frightened villager, decided the best way to save himself and his daughter was to rat out our heroes to the bandit patrols. Not only was he caught, but the inexperienced young swordsman Katsushiro was forced to make his first kill by cutting down a bandit scout. This was a clever addition to the story, taking a shocking moment that happened near the end of the film and bumping it up so the young hero has a chance to know death in the face of the big battle rather than as a result of it. I'm curious to see how they'll play it out, and they get things rolling nicely as Kambei has to take a few precise jabs to make sure the boy accepts the lessons he's just chosen to learn.
And let's not forget about Manzo. As he's dragged before the other villagers, his betrayal now made public, there's much debate about whether or not to cut him down. The bumbling cyborg Kikuchiyo, of all people, is the one who sets everyone straight as he flies into a rant that shows just how much attention this creative team paid to Kurosawa's classic film. Just as was the case there, the actions of the samurai and the bandits aren't so clearly cut, with both having been responsible for raids and atrocities in the past, the samurai merely doing so in the name of war. This has lead to farmers that are paranoid and who hide away what they can because they don't know who's going to sweep in and try to take it.
With everyone pulling together, continuing with the fortification, training for battle, and even hoisting the classic battle standard, our village has finally rallied around these heroes and risen up to fight alongside them instead of just hanging back while the samurai do all the work. All of this courtesy of a creative team that understands the layers that make up Kurosawa's works, the meticulous complexities that make every moment deep and essential.
Now we'll just have to see how it holds up as the battle begins.
(series trailer)
(opening)
(purchase)
(purchase)
(purchase)
(official website)
(wikipedia)
(anime news network)
(internet movie database)
Samurai 7 #11: The Village
2004 episode
directed by Toshifumi Takizawa and Shunsuke Tada
written by Atsuhiro Tomioka and Shuichi Koyama
based on the film SEVEN SAMURAI by Akira Kurosawa, Shinobu Hashimoto, Hideo Oguni
(1954 film)
(previous)
(next)
The time has come for the samurai to reach the focal point of all future conflict: the farming village of Kanna. And true to the original film, not everyone there is eager to meet their summoned heroes. One particularly paranoid farmer, Manzo, has managed to rile everybody up with notions that the samurai are only interested in their food stores and blooming daughters, leading the others to hide such precious items away and cower in their homes behind shut doors and windows as the samurai arrive.
Of course, the boisterous Kikuchiyo catches everyone off guard, settling the situation with his blunt humor, and we once again see an amazing mix of old elements collide with the new as the samurai guide the villagers into protecting their town. Archery is taught, spears are made, fortifications are mapped out, old mechanical wrecks are plundered for parts, and men keep looking over their shoulders as the women get excited and fawn over the handsome young swordsman, Katsushiro.
Though his design is a bit too much of a grotesque caricature, I like what they've done with Manzo, not merely portraying him as week and paranoid, but dangerous as he continues to secretly speak against the samurai and even sets out to snitch to the bandits. I'm sure he'll be an interesting thorn in the heroes' sides, already shown as his actions lead the inexperienced Katsushiro to face the possibility of his first kill much earlier than expected.
I'm also intrigued by Manzo's daughter, O-shin. They kept the bit of her father's over-protection, and she says she wants to marry a samurai one day, but she hasn't joined the others in going goggle-eyed over Katsushiro, her love interest in the original film. Instead, his eyes are set on the young spiritual leader Kirara, who, in turn, has taken an interest in the samurai's wise leader, Kambei. It's a nice, tangled web they're weaving and I'm fascinated to see where they go with it.
All in all, yet another fantastic episode.
(series trailer)
(opening)
(purchase)
(purchase)
(purchase)
(official website)
(wikipedia)
(anime news network)
(internet movie database)
directed by Toshifumi Takizawa and Shunsuke Tada
written by Atsuhiro Tomioka and Shuichi Koyama
based on the film SEVEN SAMURAI by Akira Kurosawa, Shinobu Hashimoto, Hideo Oguni
(1954 film)
(previous)
(next)
The time has come for the samurai to reach the focal point of all future conflict: the farming village of Kanna. And true to the original film, not everyone there is eager to meet their summoned heroes. One particularly paranoid farmer, Manzo, has managed to rile everybody up with notions that the samurai are only interested in their food stores and blooming daughters, leading the others to hide such precious items away and cower in their homes behind shut doors and windows as the samurai arrive.
Of course, the boisterous Kikuchiyo catches everyone off guard, settling the situation with his blunt humor, and we once again see an amazing mix of old elements collide with the new as the samurai guide the villagers into protecting their town. Archery is taught, spears are made, fortifications are mapped out, old mechanical wrecks are plundered for parts, and men keep looking over their shoulders as the women get excited and fawn over the handsome young swordsman, Katsushiro.
Though his design is a bit too much of a grotesque caricature, I like what they've done with Manzo, not merely portraying him as week and paranoid, but dangerous as he continues to secretly speak against the samurai and even sets out to snitch to the bandits. I'm sure he'll be an interesting thorn in the heroes' sides, already shown as his actions lead the inexperienced Katsushiro to face the possibility of his first kill much earlier than expected.
I'm also intrigued by Manzo's daughter, O-shin. They kept the bit of her father's over-protection, and she says she wants to marry a samurai one day, but she hasn't joined the others in going goggle-eyed over Katsushiro, her love interest in the original film. Instead, his eyes are set on the young spiritual leader Kirara, who, in turn, has taken an interest in the samurai's wise leader, Kambei. It's a nice, tangled web they're weaving and I'm fascinated to see where they go with it.
All in all, yet another fantastic episode.
(series trailer)
(opening)
(purchase)
(purchase)
(purchase)
(official website)
(wikipedia)
(anime news network)
(internet movie database)
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