7/26/2015

The Paradox of Heroism in Akira Kurosawas Seven Samurai | The "Other" Film Spectator

The"Other"FilmSpectator
Alternatives to Spectatorship: Bringing the Art Back to Cinema

TheParadoxofHeroisminAkira
KurosawasSevenSamurai

Handprint of Akira Kurosawa at Cannes,

France (personal photo taken 2009)
Sacrifice, discipline, strength, military prowess, courage, and most importantly, undying virtue are all
heroic qualities that are clear-cut and defined in a typical romanticized heroic epic. However, Akira
Kurosawas samurai adventure epic Seven Samurai takes a more complex stance when it comes to
identifying heroic qualities particularly from a moral standpoint. It exposes the conventional and
unconventional, the complex and simple, and the dark and light side of heroic ethics. Through these
paradoxical explorations, the film challenges the complex relationship between duty and moral
obligation; probes into the contradictory definition of heroic strengths and weaknesses within the
prescribed social standards of ethics; and explores the division line between good and evil in terms of
its visibility as well as its invisibility. Along with the films oppositional thematic motifs and artistic
aesthetics (i.e., cinematic codes or symbols that stem from movements, shots, editing rhythms,
frames, and symbolic mise en scnes), Seven Samurai lives up to its philosophical, artistic, and
intellectual merit. As a whole, it challenges heroic ethics and redefines heroism particularly in terms
of good and evil, strength and weakness, and duty and inclination.
When it comes to heroic principles, obedience must supersede independence. In essence, heroic
strength is demonstrated through the ability to work with the group. Kikuchiyo, the jokester, is the
antithesis of this ideal. His selfish drive makes him weak in the eyes of his samurai peers. For
instance, his insecurities about his farmer heritage and his desperate need to feel vindicated for his
samurai status compel him to seek an independent route in order to gain heroic recognition. Without
considering the protective welfare of his samurai peers, he leaves his post and goes off on his own
battling expedition in order to steal a gun from one of the enemies. He succeeds but barely escapes.
In consequence, he does not receive the anticipated praise from his leader, Kambie. Rather, he is
http://www.otherfilmspectator.com/essays-4/the-paradox-of-heroism-in-akira-kurosawas-seven-samurai/

1/5

7/26/2015

The Paradox of Heroism in Akira Kurosawas Seven Samurai | The "Other" Film Spectator

chastised for defying orders and violating samurai ethics, that is, fighting as an individual during a
war. Therefore, Kikuchyos selfish greed for heroic recognition and his contempt for his samurai
peers and principles suggest heroic weakness.
In contrast, the conventions of heroic strength are exemplified through military prowess, stoicism,
humility, and virtue. The expert swordsman, Kyuzo, is a true exemplification of this heroic prototype.
He is described as a complete professional . . . . He says very little, is closed, andlike his sword itself
only uses it when he needs to (Richie 100). For instance, Kyuzos duel with one of the village
people, which takes place during the beginning of the film, illustrates this concept. The duel is brief
because Kyuzo refrains from killing his opponent. He is aware of his opponents raw swordsmanship
skills and, therefore, decides to spare his lifean indication of his moral empathy. Later, he kills him
only because his jealous and pride-stricken opponent goads him into dueling with him and not
because he wishes to relish in his own expertise for the sake of vanity.
However, as Kyuzo carries out his duties as a samurai, his morality remains questionable, even
though he is willing to demonstrate other well-known prototypal heroic characteristics. This is
illustrated when he independently goes out on his own to steal the gun from the bandits. Kyuzos
successful return is visually reinforced by his sudden emergence from the dense fog where the
backlighting accentuates the contours of his body. This cinematic depiction makes him a majestic,
god-like figure of military prowess. He appears without a scratch when he nonchalantly gives the gun
to Kambei and tells him that he has killed two bandits. Moreover, his apathy for killing his
opponents not only reiterates his expertise but also his ability to dehumanize his opponents. Thus,
his unsympathetic attitude exudes a cold and unrelenting moral indifference. Because of this, it
seems as if duty has exempted him from moral obligations.
Moreover, Kambeis character demonstrates a contradiction behind his maintenance of samurai
principles, thereby making him a dichotomy of strength and weakness when it comes to morals. For
instance, he allows Kyuzo, the expert swordsman to independently venture out and battle. For a
successful kill, Kambie is willing to bend the rules in spite of the fact he chastises Kikuchya for
violating it. Such a contradiction poses a startling question: Is moral infallibility determined upon
ones loyalty to samurai ethics? For Kambie, he oscillates between the two oppositional extremities.
As for heroic virtue, it is demonstrated through courageous, sacrificial acts, which is exhibited by two
samurai characters, Kikuchyo and Heihachi. Heihachi sacrifices his life in order to save his fellow
samurai from going back inside the burning house to save his former wife. Therefore, he truly
maintains one of the leading principles of samurai ethics: the need, especially in battle, to
subordinate ones personal will to the common efforts of the group (Seven). In essence,
Heichachis heroism is driven by communal loyalty. He knows that it is imperative to preserve the
lives of the seven samurai since forty bandits outnumber them in battle. As for Kikuchyo, he, too,
embraces this same principle. During the final battle, he is able to avenge the death of his fellow
samurai, Kyuzo, a man whom he has once envied because of his unprecedented military skills. During
his act of vengeance, he is able to kill the last and most important bandit, the leader. Additionally,
this heroic act has spared the lives of the remaining samurai but like most saviors, his life is sacrificed
during the process.
The most poignant heroic depiction of self-sacrifice is illustrated in the scene where a dying mother
hands her child to Kikuchyo. Kikuchyo, again, defies Kambeis orders in regards to not leaving his
post. However, his act of defiance is not prompted by his selfishness but his desire to help others. In
the midst of battle, he risks his life by returning to the burning homes in order to save a young couple
and a child. The village mother walks across the stream to hand her child to Kikuchyo who meets her
http://www.otherfilmspectator.com/essays-4/the-paradox-of-heroism-in-akira-kurosawas-seven-samurai/

2/5

7/26/2015

The Paradox of Heroism in Akira Kurosawas Seven Samurai | The "Other" Film Spectator

halfway. Overwhelmed with emotions, Kikuchyo accepts the child and drops to his knees in the
turbulent current. The composition of the mise en scne is emotionally symbolic. Attention is drawn
to him as he is stationed in the foreground, whereas the burning windmill is in the background. The
flames are out of control and so are Kikuchyos nostalgic emotions as he identifies with the childs
plight. This cathartic scene reveals heroic sacrifice motivated by his individual act of sympathy and
selflessness and not by samurai principles.
Two cathartic scenes foreshadow the blurred division line between good and evil: the funeral scene
of a fellow samurai and the planting of the samurai flag. This telescopic scene captures both cathartic
moments simultaneously in a tightly dense frame. This visual effect also reiterates a thematic
contradiction in regards to morals. Cinematic codes, visual punctuation and visual trick effects,
could immediately be separated for analysis (Andrew 58). For instance, in the mise en scne, their
flag stands proudly in the background while the samurai remain on the foreground solemnly
watching it. The flags uniformed rows of circles symbolize each of the fighting samurai. The image
itself is a sign of their communal defiance as well as their determination to win the battle against the
bandits. It also reminds them of their own values (i.e., solidarity, perseverance, and determination)
which they must keep in mind as they prepare for battle. In this composition, they are, paradoxically,
both victims as well as avengers. This is reiterated in the funeral scene sequence. The camera cuts to
a close-up shot of the flag and then to Kikuchiyo. This is followed by a point-of-view shot where the
camera swiftly pans over the hill, which shows a band of bandits heralding away. Instantaneously,
the mood changes from mournful to excitable determination. However, this communal
determination that excites the samurai is morally disturbing as well. The samurai have reduced
themselves to the same fighting barbarism of the bandits. After losing one of their men, they are
overwhelmed with war angst. At this moment, their desire to fulfill their moral responsibility, that
is, to protect and aid the oppressed and vulnerable farmers has vanished. Instead, they are driven by
hateful vengeance and not by heroic goodness.
Therefore, evil is ironically examined through the heroic actions of the characters, particularly
during the battle scenes. Because war breeds moral corruption, acts of heroism in the midst of war
are distorted as the characters are tainted with sinister intentions. Thus, the division line between
good and evil becomes less distinct as war begins to take action. For instance, in the scene where the
farmers are abusing the prisoner of war, Kambei tries to convince them to have sympathy for the
merciful prisoner. However, the vengeful villagers contemptuously dismiss his request to be morally
sound, which is basically to spare the prisoners life. The village matriarch, also a hero to her fellow
villagers, then proceeds with the final kill.
In addition, this hateful vengeance and morally corrupt depiction of the farmers is a direct contrast to
their vulnerability and victimization, which is symbolically reinforced through artistic aesthetics, in
this case, cinematic codes where the cinemas physical support brings to mind a mental concept
(Andrew 61). For instance, editing rhythms, angle shots, and camera movements are all symbolic
implications in distinguishing the evil (e.g., the bandits) and the good (e.g., the villagers) particularly
during the beginning of the film. The rapid camera cuts of groups of bandits and the swift panning of
scenes where bandits are galloping away reveal their uncontrollable and ruthless nature. During this
panning, intercutting high-angle shots looking down at the village are revealed. Because a single
shot . . . generally contains dozens of signs, forming an intricate hierarchy of counterpoised
meaning, the contrast between the high and low angle shots, serves as signifying codes that
represent good and evil (Giannetti 482). For instance, the high angle-shots of the village appear small
and peaceful but also vulnerable. The villagers are protected temporarily as they remain hidden in
their homes. The shot symbolizes their victimization, vulnerability, and helplessness. In contrast, low
angle shots have the opposite effect, especially on a psychological level. The low angle shots of the
http://www.otherfilmspectator.com/essays-4/the-paradox-of-heroism-in-akira-kurosawas-seven-samurai/

3/5