The Magnificent Seven (1960)

2016 #152
John Sturges | 123 mins | DVD | 2.35:1 | USA / English | PG

The Magnificent SevenDescribed in the booklet accompanying the Ultimate Edition DVD release as “the last great American western before Sergio Leone reinvented the genre,” The Magnificent Seven doesn’t feel as dated as that might make it sound. Famously, it’s a remake of Akira Kurosawa’s Seven Samurai — a technique Leone would pilfer for his first Western, A Fistful of Dollars, which is a do-over of Kurosawa’s Yojimbo. Leone did his without permission, resulting in a lawsuit that was settled out of court, whereas Magnificent Seven was a fully-licensed re-do. As you’d expect, it therefore sticks fairly closely to the events of Seven Samurai, albeit getting through them an hour-and-a-half quicker.

Of course, it’s relocated — not to America, but to Mexico, where a farming village is being terrorised by a gang led by Eli Wallach. A couple of villagers head to the border to buy some guns to defend themselves, but end up recruiting Yul Brynner to put together a band of gunslingers to help. With no significant pay on offer, his slim pickings are pre-fame turns from Steve McQueen, Charles Bronson, James Coburn, and Robert Vaughn, plus Brad Dexter and Horst Buchholz.

Steve McQueen respondsWith even less screen time to go round than in Kurosawa’s original, the cast only get to provide thumbnail sketches of their characters. However, bearing that in mind, only Vaughn really feels shortchanged on time, while McQueen manages to steal every scene he’s in, even when he was supposed to just be in the background — much to Brynner’s annoyance. One reason this works is because the seven represent more or less the same things thematically, in some respects functioning as one hero character with seven parts. They are all unsettled drifters, good at killing but not at settling down; they have nothing to do but win and so be damned to go find another cause, or die trying. This is taken from Kurosawa’s film too, of course, but it fits just as well in its new setting, and the main scene where the seven discuss it is a definite highpoint of the movie.

Most of the action is saved for the big climax, a good old fashioned free-for-all that (like the rest) doesn’t quite have the epic scope of Kurosawa’s movie, nor the stylised discipline and suspense that would be Leone’s enduring contribution to the genre. I’ve yet to see this year’s remake, nor read too much about it, but I understand it’s changed the plot and characters a fair bit, and I imagine this is one area it’s really applied a new emphasis. Much has changed in what we expect from action movies, which is not to criticise the ’60s film, but more to observe that what once might’ve satiated an action fan’s thirst may no longer fit the bill.

Magnificent badassesThat’s not something that bothered me, but where I did find it suffering was in comparison to Kurosawa. While it has obviously been rejigged for its new setting, it’s not just borrowed the basic concept of seven violence-skilled loners defending a needy village, but rather retained all the bones of the samurai original. As with most remakes, it falters by not doing the same thing quite as well, for one reason or another. Still, if it is a faded copy then at least it’s of one of the greatest films ever made, which leaves it a mighty fine Western in its own right.

4 out of 5

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6 thoughts on “The Magnificent Seven (1960)

    • It’s interesting that Hollywood still turns to a big-budget Western every couple of years, because they don’t have a recent track record for doing that well! It’s not forecast to make as much as the Coens’ True Grit, and it cost twice as much, so…

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      • Surprised they didn’t go the sci-fi/future reimagining route of Battle Beyond the Stars. Or maybe you could argue Guardians of the Galaxy had already done the Western-in-Space so that nixed that idea. There’s nothing wrong with Westerns, but how do you get cinemagoers bums on seats for a remake of something on tv all the time? Where’s the fresh angle/gratuitous cgi shots coming from? I rather think the superhero genre is the modern equivalent of what Westerns were back in the day- escapist adventure etc.- and have left Westerns redundant.

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        • I think superheroes also represent that kind of “legendary time” aspect Westerns used to have, where you can have perfect ‘white hat’ heroes, etc. They’re also both a uniquely/originally American genre, interestingly.

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