Word: rashomonics
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...Magnificent Seven. Blood and thunder in medieval Japan, with overtones of agrarian allegory, masterfully directed by the man (Akira Kurosawa) who made Rashomon (TIME...
...Magnificent Seven (Toho; Columbia). Arms and the men have seldom been more stirringly sung than in this tale of bold emprise in old Nippon. In his latest film, Akira Kurosawa (Rashomon) has plucked the epic string. And though at times, in the usual Japanese fashion, some dismal flats and rather hysterical sharps can be heard, the lay of this Oriental minstrel has a martial thrum and fervor that should be readily understood even in those parts of the world that do not speak the story's language. Violence, as Kurosawa eloquently speaks it, is a universal language...
...upon a young wife's cheek, explaining its softness. An old man speaks, and the spectator can clearly hear the slobber as it slides up and down his throat. Effective as it is, there is nevertheless something tiresome in all this sensuality. In The Magnificent Seven, as in Rashomon, Kurosawa has provided a feast of impressions, but has skimped on some of the more essential vitamins. The characters are clearly written and admirably played, especially the leader of the Samurai (Takashi Shimura). But only rarely does the story seem to drop through the floor of everyday reality into...
This luminous little legend, so much like the Western Cinderella story and yet so much more, has been made into a slow (perhaps too slow) and stately motion picture by the same Japanese company that produced Rashomon, Ugetsu and Gate of Hell. The film has the quality of endless resonance that distinguishes the true myth. Like a gong, it is small in itself, but the sound of it carries a very long way. The reverberations of the culminating symbol: the tree of life that bears the fruit of death, a death whose other name is love. For Western movie goers...
Japan's No. 1 cinemactress, dove-necked Machiko Kyo, the rape victim of Rashomon and mincing dispenser of love in Ugetsu, arrived in Manhattan for her first trip outside Japan, was given such a whirl of interviews, screenings, photographic sessions, business appointments and kimono changes (she was equipped with ten sets) that she had little time even for window shopping. At week's end she left for Hollywood to discuss MGM's prize offer: that she play the role of Lotus Blossom opposite Marlon Brando in the film version of Broadway's Teahouse of the August...