Three survivors of the initial Magnificent Seven outfit, Chico, Chris and Vin, recruit four new members in order to re-form the outfit and defend a few Mexican villages from attacks by vicious bandits.
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 <email@example.com>
The original screenplay was written by Walter Bernstein, but it was later reworked almost beyond recognition by Walter Newman, and Newman's version is what was used for shooting. However, during shooting, rewrites were frequently required on set and Newman was unavailable, so William Roberts was brought in to take his place. When it was suggested that Roberts get a co-credit, Newman was so furious that he demanded that his name be removed from the project completely, so Roberts ended up getting full onscreen credit for a screenplay he only edited. See more »
When Chris and Vin begin driving the hearse up to Boot Hill, they pass the Belmar Hotel sign twice - once silently at the very start, and then again as they briefly discuss the towns they've come from a few moments later. See more »
It took me a long, long time to learn my elbow from a hot rock. Right now, I belong back in that border town sleeping on white sheets.
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SEVEN is one of the better Westerns to come out for the aging genre. Also, for any genre, it has much better characterization; from the cowboys, to the farmers, and even the outlaws themselves, everyone gets their own fair share of camera time to make MAGNIFICENT SEVEN a classic in its own right.
Outlaws steal from a small Mexican farming town every once in awhile. Since the authorities do nothing, the farmers enlist the aid of seven gunmen to solve their problem.
Compared to THE SEVEN SAMURAI, I would have to say MAGNIFICENT is less dark and reflective. An outlaw such as Calvera is hard to hate seeing him as a character on screen. Also, a better motive to explain why the outlaws continue their attack on the village is shown here, as opposed to Kurosawa's classic, where the raiders relentlessly never gave up, not once thinking (or admitting) the village is well fortified and they were not going to win. The scene and spirit of the old west, combined with the philosophies of the far east, have made a fine movie.
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