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Original Title: The Magnificent Seven

Genge: Action,Adventure,Western

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

A bandit terrorizes a small Mexican farming village each year. Several of the village elders send three of the farmers into the United States to search for gunmen to defend them. They end up with seven, each of whom comes for a different reason. They must prepare the town to repulse an army of thirty bandits who will arrive wanting food.
An oppressed Mexican peasant village hires seven gunfighters to help defend their homes.
Good movie if you like westerns. Now see, The Seven Samauri, by Kurosawa which is, strangely enough, also about seven warriors who defend a village from forty bandits, and win, but at great cost. Due to the high level of rip-off, I would give this movie a 1 to The Seven Samauri's 10. If it had been an original work, a 7. It might be worth knowing this sort of activity is all too common. You might want to watch Kimba, the White Lion, and Simba, the Lion King, back-to-back.
Maybe the Magnificent Seven is the swan song of the classic western, you know the ones in which men are meticulously shaved all the time, dress in spotless clothes and the weather only turns sour when it was needed. But most of all, they did what they did because of some noble principle(unless they were bad).

It is established early into the movie. Adams and Tanner step in when nobody wants to bury a dead Indian. They transport his corpse to the cemetery while opposed by nameless bigots who do not want an Indian in their graveyard. Even after death there is racism.

Adams seems to be one of those decent selfless gun for hire types(think lone ranger) and thus, when asked by a group of Mexicans to have him protect their village from a band of marauders, he accepts the dangerous job for a pittance. This raises the one importance question that will plague the movie, echoed by Eli Wallach: why? What makes a gunslinger like Adams decide to put his life on the line to do this thing for no good money at all?

I loathe to compare movies nowadays, but in the seven samurai there was a very good reason: they were lordless fighters who were trapped in a rigid social structure that allowed for no social mobility in desperate times. In other words: they were doomed to it. Fight or starve. But in the late 19th century US men were far doomed in that manner in a land of opportunity that experienced an economic boom.

Sturges thus needs to establish another motive, so he has Tanner supply an answer of a kind: it seemed to be a good idea at the time. This might have been a sarcastic Bruce Willis line from say Die Hard, but this isn't a tongue in cheek movie because it takes itself pretty serious indeed. Wrong answer therefore. Seven against forty(six actually)is no good idea at any time. It almost feels as if Sturges is caught in between the mood of times: the spaghetti westerns will supply other reasons: greed, revenge, and other less noble principles. The classic westerns had their own noble reasons, but they are never supplied. In fact, when the villagers betray the seven, the latter even come back to save them again.

The movie never explains why the men do what they do, even if their behavior is at odds with their characters. Take Harry Luck, a fortune seeker, who tags along because he believes there is more to the job than the twenty dollars pay for 6 weeks being shot at. Why would he think that Adams is hiding something? Does it follow from what went before? Is it made believable in the movie? But most of all, why does Adams take him along, knowing that Luck might bail the moment he finds out there is nothing else but the twenty dollars and the likely possibility of death?

Sturges cannot shake loose from the confines of the earlier movie and the prescriptions of the classic western. He could have the villagers or Adams dupe the others. Suggesting more wealth that there was, but that would made them look bad and that cannot be. He could have spend more time on character building, thus giving personal reasons.. which actually seems the way he is heading, but alas there is not enough movie to do that for seven characters. Not even the character of Adams is well developed in the movie.

The central weakness of this movie is this lack of proper motivation for the characters involved and the failure to establish their personalities. This would not have such a great weakness if the rest made up for it with, say, good gunfights. But they are weak and awkward at times.

This leaves us actually with a weak movie that cannot deal with the cultural transition from 15th Century Japan to 19h Century us in an acceptable way. Sturges is just not up to the challenge. The movie therefore simply pales in comparison to The Big Country(2 years older) that sees a man resisting violence out of principle and A fistful of Dollars that followed four years later in which the main characters are no longer driven by noble goals. As such the movie is not so much interesting by itself, but rather as an in between piece of work. The last of the classic western and, perhaps, showing an embryonic development of what was to come.
Although The Magnificent Seven is modeled so closely on Akira Kurosawa's Seven Samurai (also originally released in the USA under the title "The Magnificent Seven") that they share even some dialogue (in different languages), there are several notable differences:

* Samurai's villagers are sent to town to hire swordsmen. In this remake, the villagers are sent to town originally to buy guns. Chris tells them that in fact, it will be cheaper to hire gunmen than to buy guns. Howard Hughes in Stagecoach to Tombstone says that the original screenplay for The Magnificent Seven followed Seven Samurai on this point, but was changed on the insistence of the Mexican censors.

* In Samurai the reason of using a total of seven ronin was based on tactics. In Return of the Seven, Chris says "luck" is why seven gunmen are needed; implicitly it's the same reason in all the films.

* Katsushiro, the aspiring young samurai, and Kikuchiyo, the would-be samurai whose hatred for the farmers hides a painful past, are combined into the single character, Chico. Unlike Kikuchiyo, Chico is not killed at the climax of the film.

* The combination of Katsushiro and Kikuchiyo opens a slot for the Robert Vaughn/Lee character - a gunfighter who has lost his nerve. His pursuit of perfection in his gunplay does mirror Kyuzo.

* The Katsushiro and Kikuchiyo combination also opens a slot for the character of Harry Luck, the gunfighter who is convinced there is some financial gain in protecting the village. There is no comparable character in the original (though his first scene mirrors Gorobei's first appearance), all the samurai take the job knowing there is nothing more to gain from the job than what's promised.

* Another combination of sorts takes place with Bernardo O'Reilly - his first appearance is based on Heihachi's debut (chopping wood perfectly, until he hears about the opposition they face) while his scenes with the children place him closer to Kikuchiyo. Incidentally, Charles Bronson (Bernardo) would later co-star with Toshiro Mifune (Kikuchiyo) in the movie Red Sun.

* In the original, the samurai make a pre-emptive strike against the bandits' campsite, losing one of their own in the process. Thus, when the bandits attack the village, the samurai are short one man, and three more are killed in the battles. In this version, that attack takes place after Calvera's band are initially driven off, and they find that the camp is abandoned.

* In Seven Samurai, the village is fortified to keep the bandits out until the climactic battle. In the remake, Chris states that the new walls were built to trap the bandits inside the village.

* The bandit leader Calvera plays a much larger role than any of the unnamed bandits in the original.

* Chico and Katsushiro both fall in love with a farmer's daughter, but in Seven Samurai, Katsushiro's relationship with the girl leads to a dramatic confrontation, and by the end the girl recognizes the impossibility of bridging the class divide and must ignore the samurai once the fighting is over. In The Magnificent Seven, Chico's relationship never results in scandal, and he stays behind to be with the peasant girl, purposefully rolling up his sleeves in order to start laboring.

* In Seven Samurai, the village elder is killed by the bandits when he refuses to abandon his house, which is an outlying house that the Samurai determined could not be protected. In The Magnificent Seven, the village elder likewise refuses to abandon his house but suffers no repercussions for it.

* In Seven Samurai, when Kikuchiyo attempts to impress the other samurai by deciding on his own to infiltrate the bandit camp, he is sharply rebuked. He believes he deserves praise because of the success and daring nature of his mission. Instead, Kambei berates him for failing to operate as a member of the team, which Kambei stresses is paramount in a war effort. In The Magnificent Seven, Chico receives no such reprimand upon returning from his reconnaissance mission to the bandit camp, and in speaking about it later, he says that he is certain that the other gunmen were impressed by what he did.

* In The Magnificent Seven, neither the villagers nor the gunmen initially expect a battle to the death with bandits, resulting in internal conflict when it becomes clear that such an assault is pending and not all are in favor of risking their lives. This leads to the fearful villagers betraying the gunmen in order to prevent the deadly engagement, thus allowing Calvera to capture the men. Only at the very end of the film, after the climactic battle has already begun, do those villagers who had been against the battle finally take up arms and join in the fight against the bandits. By contrast, Seven Samurai features no such competing factions among the villagers and samurai. Although the villagers in Seven Samurai are also portrayed as frightened of the samurai and momentarily regretful for hiring them, all involved know from the outset that there ultimately will be a full-scale siege of the village. As such, after the initial acceptance of the samurai into the village, the villagers and samurai remain united throughout, with all of the villagers fully participating in the conflict from the beginning. [wikipedia]



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