A town Marshal, despite the disagreements of his newlywed bride and the townspeople around him, must face a gang of deadly killers alone at high noon when the gang leader, an outlaw he sent up years ago, arrives on the noon train.
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 <firstname.lastname@example.org>
After Calvera and his men are driven from the village the first time, there is a sequence in which three of his men start taking potshots at the villagers from the trees. One of these shots strikes Chico's hat and knocks it off his head. He even sticks a finger through the hole after retrieving it, however in a scene just a couple minutes later, Petra (the Mexican girl) is talking with Chico. We can see there is no bullet hole in the front of his hat and at one point, he turns his head 180 degrees in order to look behind him and there is clearly no bullet hole in the back of his hat, either. It has simply disappeared. See more »
Now, to business! I could kill you all. You agree?
Well, you don't disagree!
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The German theatrical release differs from the German VHS video in the scene where the magnificent seven have been taken by surprise and have to put down their weapons on the table. Chico is the last one and stands in enragement. In the theatrical version he then nevertheless unstraps his belt like the others. In the VHS video version Chris jumps at Chico just in that moment when he wants to pull the gun. Chris takes his gun and puts it on desk. Then Chico unstraps his belt. See more »
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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