"Seven Samurai" has many things that people talk about: the skill of ancient battle scene scheduling, multi-camera photography and smooth editing, several breath-holding slow motions, etc., various film languages and desolate interpretations of the samurai class and the era. There is no need to go into details. At the current stage when aesthetics tend to deconstruct and blur boundaries, the classics appear to be particularly complete and enduring to read: simply telling good stories is actually very extravagant.
The most worthy of interpretation time and time again is probably these seven men with their own characteristics. I admire all the roles: Kanbingbei's wisdom and benevolence leading the overall situation, Kikuchiyo's integrity and pride, Katsushiro's young courage to seek Tao, Shichiroji's loyalty and easygoing, Goro's resourcefulness, and Heihachi's optimism and detachment.
And my favorite is Jiuzang, which is the sad and tragic beauty of Jiuzang's death.
He is an absolute master recognized by everyone, taciturn and expressionless, always dressed neatly, with a correct posture, and represents the idealistic image of a samurai with the pinnacle of skill.
In addition to the plot against the provocative samurai in his debut, there are two impressive points that show his superb martial arts:
The first is to kill the bandits in the ambush forest. In a patch of soft wildflowers, the Buddha, who has been hiding for a long time, is leaning on the side of a giant tree stump, resting in the shadow of the tree, silently laying flowers in his hands, and a strong spiritual force is revealed in the tranquility. When the thief approached, he suddenly got up and let out a murderous aura.
第二处的故事讲法极其巧妙。久藏淡然而笃定地说要去山贼处抢一挺火枪，随即向无边黑暗中的敌人矫健地奔去。电影画面停留在村口，令人窒息的时间与篝火慢慢熄灭在夜色与烟霭之中，不知过了多久，也不知这一片死寂的彼方是何景象，所有村民垂头丧气，焦虑乃至绝望。就在所有人都认为他必死无疑时，烟霭中鬼神一般走出毫发无伤的久藏，如离开时淡然地说了一句“抢枪一挺，杀敌二人”，便没事人似的坐到一旁睡去了。
无比的崇拜。技艺抑或才华的登峰造极，是一种让人无法抗拒的纯粹的美。
而高强武艺与武士道品格竟还不是久藏全部的迷人之处。总是少言寡语，周身环绕着萧肃的距离感，却有着被着重刻画的、格外细腻的内心。当武士们在湿润的夜火边笑谈到女人的时候，久藏安静的脸上有了波动，随即径直出门，独自在雨夜中修炼武艺。在发现胜四郎和农民女儿志乃的秘密后，默默帮年轻人保守着秘密；他在下雨的树林“窥探”这个秘密的举动，犹如波澜不惊的外表下对他人情感的刺探。他愿意替年轻人挨饿，把米饭让给可怜的老妪……
还有他面对胜四郎溢于言表的崇拜赞美时的会心一笑，令人动容。
而这样的久藏终究还是死了，不是在属于他的战斗高潮，而是死在一切都即将结束之时，危机几近消除之际。
他在真正艰险的战斗中，凭着绝对的武艺的次次胜利，却被偷躲在暗处女人堆里的贼中鼠辈，用枪远远地从身后射杀。
倒地后，他拼着最后的力气爬起将刀扔向敌人所在的方向，做完他可以实现的最后战斗动作，再一次重重摔进泥沼中死去。那是整部电影里我最心碎的瞬间。
“悲剧是把有价值的东西毁灭给人看。”
久藏之死是理想之死。追求武士道理想的年轻人胜四郎为他的死去表现出前所未有的悲恸：他这样厉害，怎么能死呢？再强的武艺，赢不了武士的宿命，敌不过时代的枪火：《七武士》中死去的四个武士，无一例外是死在了枪下。
然而对于武士，或许死亡才是业德的终极体现。死让久藏从武士存在的悖论中得以解脱。勘兵卫一直自责没有资格为师，只因他自认为打了一场场败仗，却无一例外幸存；菊千代之死，亦使他的生命在武士意义的消亡前定格，真正地再也无法从武士中被区分出来。“胜利的是那些农民，不是我们”，武士除非恪守武士道并为其命染黄沙，永远没有属于他们的胜利；胜利对于他们极其矛盾，这一拼命去争取的事物意味着其存在意义的终结，亦不算是对他们自身的加冕。从战斗中幸存的生命，只是这个时代最后残流的汩汩悲歌，只能继续其落日下的流浪。
勘兵卫和老战友依然活了下来，亦是一种悲而无奈的“生”之宿命论：在无数场战败后，无一例外幸存。相较之下，久藏亦是因为死而完美，是他为理想与武士道追求而死的宿命吧。
View more about Seven Samurai reviews
