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The Magnificent Seven (1960)

An oppressed Mexican peasant village hires seven gunfighters to help defend their homes.

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Nominated for 1 Oscar. Another 1 win & 5 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Chico
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Lee
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Harry Luck
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Jorge Martínez de Hoyos ...
Hilario (as Jorge Martinez de Hoyas)
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Pepe Hern ...
Natividad Vacío ...
Villager (as Natividad Vacio)
Mario Navarro ...
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Storyline

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. Written by John Vogel <jlvogel@comcast.net>

Plot Summary | Plot Synopsis

Taglines:

The Magnificent One! See more »


Certificate:

Approved | See all certifications »

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Details

Official Sites:

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Release Date:

23 November 1960 (USA)  »

Also Known As:

Die glorreichen Sieben  »

Filming Locations:

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Box Office

Budget:

$2,000,000 (estimated)
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Company Credits

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Technical Specs

Runtime:

Sound Mix:

(Westrex Recording System)

Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Steve McQueen tried to draw attention from Yul Brynner by taking off his hat to shade his eyes as he looks around just before they drive the hearse to the graveyard and bending down from his saddle to dip water with his hat as the whole crew crosses a stream. Finally Brynner said to him, "If you don't stop that I'm going to take off my hat, and then no one will look at you for the rest of the film." See more »

Goofs

Audio is out of sync when Bernardo spanks the village boy. An additional "slap" sound is heard shortly after he finishes spanking him. See more »

Quotes

Vin: We deal in lead friend.
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Crazy Credits

And Introducing Horst Buchholz See more »

Connections

Referenced in Ma vie en l'air (2005) See more »

Soundtracks

The Magnificent Seven Theme
Written by Elmer Bernstein
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Frequently Asked Questions

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User Reviews

 
About as good as remakes get
18 October 2004 | by (Washington, DC) – See all my reviews

I recently subjected "The Magnificent Seven" to just about the toughest test imaginable--I watched it just a few days after "Seven Samurai." And while I'm not going to pretend it's on par with Kurosawa's astounding masterpiece, I have to tip my hat to Hollywood on this one: it's good, DAMN good, among the best American Westerns.

The focus of the screenplay is more on post-Bogart-pre-Eastwood cool banter than the gradual, taciturn character development of "Seven Samurai," but that doesn't mean that the film doesn't have a heart. Considering it clocks in at barely over two hours (compared to the marathonic three and a half of "Samurai"), it actually does a fantastic and very economical job of fleshing out its memorable cast of characters.

One particularly wonderful scene that stuck in my memory from the first time I saw the film ten years ago is the one where Lee (Robert Vaughn), drunk in the middle of the night, confesses his frailties and fear to two of the farmers. The scene (along with the general story of these down-and-out heroes) was groundbreaking in that it began the deconstruction and deromanticization of the Western hero which would be brought to fruition in Sergio Leone's unparalleled spaghetti Westerns.

The star-studded cast wouldn't hold up doing Shakespeare, but they're ideal in this gunslinging, cool-talking tough-guy adventure. As if a lineup of heroes that included Yul Brynner, Steve McQueen, Charles Bronson, and James Coburn wasn't enough, Eli Wallach steals the show as the Mexican bandit chief, a worthy precursor to his classic role "The Good, the Bad, and the Ugly." If the screenplay has a major flaw, it's that his character isn't featured more.

The score is, of course, one of the all-time classics. And while not as alive visually as the Japanese film that inspired it or the Italian Westerns it influenced, it's still mighty fine to look at, and the gunfights don't disappoint.

The pieces add up to one of the great entertaining films of all time, which still manages to be moving and morally aware despite its Hollywoodization of Kurosawa's vision.


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