The original promotes human justice packaged under the cloak of Bushido in the context of the times. And this film combines the personal enmity of the Hollywood hero film to avoid the decision and understanding between the East and the West on the righteousness and personal profit: in the original Japanese version, the samurai saw a small remuneration but still promised to highlight the poverty of the samurai at that time. Motivation for promises under the premise of despair; This version of the screenwriter changed his identity as the chief sheriff of the area. At the beginning, he knew that the remuneration and the difficulty of the task did not match, but he followed the task and obeyed his identity duties; at the end of the film, he learned that Qi Sen's motive was personal revenge. The screenwriter skipped the imitation of Eastern thinking in order to help Western audiences in the target market understand Qissen's motives. The genius of the screenwriter's adaptation is that the western audience for the target market and the eastern audience in the global market skillfully blur the motivation for the protagonist's next task: the understanding of human justice. Such ambiguity allows Eastern and Western audiences to have their own different understandings of the movie, rather than forcing the screenwriter's ideas onto the audience. The scenery in the film is good, and the long-range lens even renders the magic of nature. Hailey's eyes are long, and her eyes are hazy and blurred, very cable, very attractive. I didn't know the cast before watching this film, so I didn't let the increasingly serious political correctness of 8102 and 9102 be preconceived. In fact, this kind of real diversification through the plot has a real positive effect. By showing class contradictions and racial contradictions, the screenwriter finally wins the results that human beings yearn for (you, ping, etc.) through cooperation.
View more about The Magnificent Seven reviews
