What is a true samurai?
From ancient times to the present, how many people have longed to be a warrior and a warrior, but the true soul of the samurai is always ignored. People are accustomed to making conclusions through the results, and often forget to trace the original intention. So I think Seven Samurai can help you get back to the point.
During the Sengoku period in Japan, peasants were harassed by mountain thieves and asked for help. They were fortunate enough to invite seven samurai to guard the village, and finally annihilated all forty mountain thieves, but the samurai also had more than three of the seven.
This is the story of "Seven Samurai", which is definitely a superior martial arts film, which is worthy of our careful appreciation.
<h1 class="pgc-h-arrow-right" data-track="21" > a samurai vs. a mountain thief</h1>
The film depicts the samurai's righteousness and battle.
The guards, who were the leaders of the surveyors, could not bear the situation of the peasants and allowed them to help. After understanding the situation, he thought he was outnumbered and began to look for suitable helpers. Since the peasants could only provide white rice for three meals a day as a reward, very few samurai were willing to accept it.
Shichirōji was his former loyal Japanese subordinate, and he followed him when called. Goro Bingwei is a vegetarian, but he sees it as usual. The subsequent Jiuzang was also a person in this kind of good man's sympathetic temperament. He was originally in swordplay and had no intention of getting involved in the incident, but he was inspired to change his original intentions. As for Heihachi, Katsushiro, and Kikuchiyo, they are also chivalrous.
After the autumn harvest, the samurai and the mountain thieves face off. Although the samurai were meticulously arranged, the battlefield was changing rapidly, and the misfortunes were unpredictable.
Heihachi entered the enemy's surprise attack, and after winning the battle, he sacrificed himself in order to save his companions. Jiuzang was alone in the enemy position, and his courage was outstanding. Kikuchiyo looked at it with respect and envy, and also wanted to follow suit, but he actually left his post without permission. Later, although he also captured the gun, the flank he was responsible for was breached by the gap. During the melee, Goro Bingwei was unfortunately martyred.
In the final decisive battle, the guards changed their plans and deliberately let the remnants of the mountain thieves fall into the nest, intending to wipe them out. The move worked. Unexpectedly, the thief sneaked into the grass hut where the women and children were hiding, secretly shot and killed Kuzo, and also seriously injured Kikugandai. Kikuchiyo took his last breath and died with him.
In this struggle between birth and death, a samurai spirit of wisdom, benevolence, and courage is fully highlighted.
<h1 class="pgc-h-arrow-right" data-track="22" > in-depth portrayal of the peasant class</h1>
The film also has a deep portrayal of the peasants, not to let them simply "welcome the king".
There were two successive conflicts between peasants and samurai:
The first time was when the samurai entered the village, and no one was willing to welcome them.
The second time was because the peasants had sacrificed several pairs of armor that had been plucked from the dead samurai.
The peasants were well-intentioned, but the old samurai such as the Kanbei guards felt humiliated, and Jiuzang even coldly wanted to kill the peasants. In their eyes, no matter who the samurai is, dead or dead, should not steal his armor, which is a great disrespect to the samurai class.
At this time, Kikuchiyo stood up against kikuchiyo, who was originally an orphan of the peasant class and joined the ranks of samurai because he did not want to be a farmer anymore. Although he did not have the prestige of a samurai, he did have the heart of a samurai. His words became the bond of the entire film.
It clearly explains the reasons for the fear and distrust in the hearts of the peasants, and also speaks negatively of another kind of samurai image of the grass creatures.
<h1 class="pgc-h-arrow-right" data-track="23" > look at the "superiority" of the seven samurai from the point of contradiction</h1>
Since the peasants are not welcome, why not roll up their sleeves and go away? Since the peasants will deceive and insidiously pursue the samurai who have fallen alone, why not teach them a lesson by the hand of the false mountain thief? No.
The samurai did not complain. Even in the contradiction, Katsushiro's love affair with a peasant woman was broken by his father, who was angry and scolded "something, look at this kind of samurai", and the guards and others were not provoked, but only persuaded each other. However, some peasants could not look at it and came forward to clarify that they loved each other. In the contradiction between "Seven Samurai" and the peasants, look for superiority.
I think that the existence of these contradictions is to set off the superiority of the seven samurai, especially the clarity of the kanbei.
In the midst of human nature, he is round and considerate of people. You can walk without walking, you can be angry without anger, and this wisdom and measurement alone is very human. If such contradictions are not properly handled, they can easily expand into conflicts between the two parties and cause internal divisions. He was old and heavy-handed, and after hearing the ins and outs, he completely ignored the gap, so that the peasants and warriors could form a solid fighting body, which was a rare general.
<h1 class="pgc-h-arrow-right" data-track="24" > the helplessness of heroes and the desolation of life</h1>
In the end, the mountain thief is eliminated, and the film turns the camera in the midst of victory, continuing to state the desolation of the samurai's life.
When the farmer happily went down to the field to plant seedlings, and suddenly forgot that there were seven samurai, the surviving guards sighed. In fact, this exclamation was made very clear at the beginning when the young Katsushiro refused to pay homage to him, when he said that even his parents and friends had passed away one by one. The samurai present listened intently.
Now, looking up at the new tomb of the sword tomb in the wind and sand, he lacks the dashing of success and retirement, and the tragedy of the bird's bow is gushing up. This state of mind experience is just like what is said in the opening volume of the Romance of the Three Kingdoms. What about wisdom and courage, and what about the merits? "Turning the head empty" is something that no one can escape, and the ability of heaven cannot escape the waves.
Heroes and fishing trees, samurai and peasants, will one day return to the loess. This is an unavoidable tragedy, a tragedy that no enemy can oppose, a tragedy in which the sages are foolish and inferior, a tragedy that is calm and cannot be shouted, a tragedy within a tragedy.
But what if you go back in time and do it again? I am afraid that the guards will still approve, and the seven samurai will still be righteous. They came from afar to help, putting their own safety at risk, and asked for a few white rice meals? What they want is a value of settling down. Happy to be alive and die without regrets. They were all samurai who dared to die for their confidants. Benevolence is benevolence, righteousness is righteousness, and fate is the same as in the way.
<h1 class="pgc-h-arrow-right" data-track="45" > the soul of a chivalrous warrior</h1>
From the perspective of the three layers of martial arts, peasants and destiny, the director focuses on the martial virtue of the "great hero".
From the beginning to the end of the whole story, there is no leader of the inhumans, no true scripture sword, no light poison needles, no magic calculations with a hundred divine tricks, and no routine of "wonderful duels of the gods of the world", but the heroic heart of his people and deeds is heroic. Wu Zhishou Survey Guards, in addition to showing the skills of a pair of one-handed blade bandits at the beginning of the film, the next step is full of calm wisdom. Kuzo's attainment with the sword is high, but his humble and introverted cultivation is even higher. The film captures the soul of a samurai, and the soul is in the personality, not in the martial arts.
At this point, it seems that he has already answered the question at the beginning of what is a real samurai? What is the soul of a samurai? And this is also the soul of the movie.