How to organize a successful uprising —— On the chivalrous gathering of righteousness and its training mode in The Seven Samurai

I am a person with obvious personal heroism complex. From small to large, whether it is Water Margin, Romance of the Three Kingdoms, Eight Dragons, Seven Swords Down the Tianshan Mountains, Brave Heart, or even Bao Qingtian, the white face of Stephen Chow's Do Sesame Officer, I can see it righteously and feel the surge of emotion. I can't wait to kill the rich and help the poor as soon as I mention Zhang Xiaoquan at home. It is said that now coincides with an unprecedented harmonious and prosperous time, and there is nothing to do, leaving only countless hot-blooded men to sigh that heroes are born in troubled times, and time waits for no man.

Most of these heroic stories, large and small, have a fixed paradigm: the heroes who care about the country and the people come from the grassroots and go through hardships. Collect auxiliary heroes/think tanks/magic weapons/red bottles and blue bottles to supplement blood and magic on the way? 6? 1? 6? 1? 6? 1 etc. Finally, he finished his work in a battle, killed himself, and the world was at peace. He either retired from the mountains or died together. To put it bluntly, the beginning and the end are very similar, so the quality of the work is not here, but in most cases it is the main line of the story, that is, the process of gathering righteousness and creating heroes. Inferior works, the process of gathering righteousness is like playing a mindless online game: receiving tasks, collecting partners, upgrading equipment, and rolling straight to the end. For details, please refer to the classic Battle of Titan. Excellent works show the complex personality differences of group characters in contradictions and collisions, show the connotation of history and times, and the director's language. In this process, they reshape and define what a hero is, that is, the self-identity reconstruction that a hero must go through.

Therefore, good hero films, stories and conflicts serve the characters, while individual and group images serve the theme. There are obvious differences among the three. In fact, this is also a general standard to distinguish between good and bad films. With it, we can easily identify who is a bitch in the film industry without smoking, drinking, taking drugs and tattooing. From this point of view, Kurosawa's "The Attendant of Seven People in 65438 +0954" is indeed a textbook-like classic, so it is not difficult to understand why it can become a benchmark that directors of hero films and martial arts films must worship and learn in the next few decades. The following focuses on the protagonist's semantic mode in the text of "The Attendant of Seven", supplemented by pictures and lens language.

Teru Shimada Camby, the central figure in Biography of the Seven Chivalrous Men, is the most prolific figure in the first half of the film. At the beginning, through Kenshiro's third-person perspective, I witnessed the scene of Camby's hard cutting of mountain thieves-this is his courage; With the momentum of the wild warrior, you can judge the outcome of the duel early-this is its wisdom; Repeatedly rejected, it is only because of a bowl of white rice that farmers have worked hard to make up that they decided to resist injustice-this is their meaning. In this way, courage, wisdom and righteousness are all available, and the perfect samurai image under Kurosawa's lens is set up and ready to come.

Three farmers looked weak, pitiful and embarrassed under the close-up of a bowl of white rice. Teru Shimada believed that defending the village required gathering the strength of seven soldiers and immediately began to recruit new members of society. He used an absurd and reasonable method to identify the bitch: let Kenshiro sneak attack in the dark to test the actual combat experience, reaction ability and endurance of the warriors. In this process, many warriors joined the team in different ways and showed their distinct three-dimensional personalities: Jiuzang, who was lonely and had the strongest force value, easily passed the customs, and was later inspired by the loyalty of Teru Shimada and others; Kojiro, a peddler, has put his life and death at risk. Before he finished his sentence, he laid down his baggage and left happily, just like a reclusive chivalrous man. Five Lang Wei Bing saw through Camby's trick and readily agreed, because he just liked Camby's character. Hirahachi is timid but wants to succeed; Ju Chi was born mysteriously, behaved strangely and followed all the way, eager to prove his "samurai" strength; Katsushiro is young and energetic, representing the future of the warriors. From then on, seven people with different personalities got together for the first time, spreading a pattern full of contradictions and collisions, waiting for further development.

Kenshiro is young and energetic, comparable to being involved in the war. The positions in series show different psychological states in the same shot. Different from the general basic film, the farmers in the village, as the protected party, occupy a very critical scene in the text. It can be said that the main content of the whole film is the story of cooperation, conflict and interaction between the seven samurai and the peasants. At first, farmers were afraid of the arrival of the Seven Samurai, thinking that they were masters of burning, killing and looting, just like the "wild samurai" who became an outlaw. So, a father forced his daughter's hair to look like a boy. Farmers are ignorant and inarticulate. Only a few people agreed to the plan to hire samurai, and the rest stayed away from them. There are few lines here, a few eyes are close-up, and the hairstyle is very strong, which sets off more intense drama contradictions and is reasonable.

Farmers are unable to hire samurai, and they are dejected. Li Ji's eyes are sharp, and the farmer's daughter's huge buttocks strongly suggest the exuberance of sex and fertility, which is the foreshadowing for the following article. During this period, it mainly describes the seven samurai's exploration of the terrain and the construction of fortifications, interspersed with many straight lines, such as the love between Katsushiro and the peasant girl, the anxiety of farmer Li Ji, and the old farmer's refusal to give up his home. From the samurai's point of view, farmers are ignorant, selfish, obscene, short-sighted, and have an embarrassing and despicable life. So the Seven Warriors raised a fundamental philosophical question: Are farmers worth giving their lives to help? This is a seemingly unsolvable problem-today, of course, we can say that all beings are equal, but even if the medieval warriors were down and out, they still had aristocratic blood. The power that should have made contributions to celebrities is used to protect a group of inferior and lowly people, which is in itself a violation of normal rational thinking. When the Seven Samurai became more aware of the true face of the peasants and were more thoroughly disappointed, the cruel reality made the chivalrous spirit extremely ridiculous, and this group of self-righteous samurai fell into great embarrassment. This is Kurosawa's first philosophical challenge to the audience.

At this time, a key event affecting the whole film happened: the Qing Chiyo and the peasants found a pile of excellent armor weapons, which were picked up by the peasants after killing the defeated warriors, which made the Six Warriors feel very ashamed and angry: "I really want to kill the people in this village!" At this time, Kikuchi Ocean broke out. In tears of laughter and anger, he sternly questioned the Six Warriors-what do you take farmers for? Thought it was a bodhisattva? What a joke! Farmers are the most cunning. They want rice instead of rice and wheat instead. Hum, in fact, they have everything! Open the floor and have a look. If it's not underground, it's in the storage room. You will find many things! Mi! Salt! Beans Wine! Ha! Ha ha! They are honest on the surface, but they are the best liars. Either way, they will lie. When they fight, they will kill disabled soldiers and grab weapons! Listen, the so-called farmers are the meanest! Cunning! Cowardly! Bad heart! Idiot! It's a murderer But who made them like this? It is you! It's you, samurai! Fuck you! What do you want farmers to do if they burn villages, ravage rice fields, work at will, humiliate women and kill all those who resist? What should they do? Damn it! Damn it!

From then on, everyone knows that Kichiyo was born in a lower class of farmers, not soldiers, so only he knows the meanness and meanness of farmers best. He slammed the door and left, and the rest of the warriors bowed their heads and lost in thought. Since then, the film has not clearly explained the subsequent progress, similar to the "blank space" in literary works, giving the audience room to think.

The warriors felt great humiliation, and five people looked different. The wonderful group shot captures the explosion of Ju Chi's true temperament, denouncing the hypocritical samurai class, and the madman is the most spiritual impact. If Takashi Shimura's Teru Shimada can be said to be a Xiao Feng-style team leader, strategically controlling the field and balancing the contradictions of all parties, then Mifune Junlang's Kikuchi Yang is a Duan Yu-style crazy teammate, specializing in creating troubles and intensifying contradictions. Kuzo, who has the highest force value in the team, also has a distinct personality: serious and cold, taciturn, obsessed with kendo. Seeing Gui Xiang tryst with a peasant woman, he excused his secrecy, which made the audience feel the delicacy and warmth under the cold face of the hero.

In their relationship, the peasant woman took the initiative to make up her mind, winning Shiro's indecision, but losing ten percent in momentum. After two hand-to-hand combat with the shanzhai, the Seven Warriors captured the prisoners alive and obtained the information of the mountain thief's stronghold, so they decided to sneak attack at night. They found Li Ji's fiancee who was taken away, thus opening Li Ji's heart. The fiancee didn't run away, and she died in the fire with the mountain thief voluntarily, which shocked the warriors-farmers are not as simple as they thought before, and they also have the will to protect their homes and relatives, and this will is even stronger than their so-called samurai soul. After shame, they fell into confusion and meditation again.

Yukiko Shimazaki's eyes are moving, without lines, and he conveys a lot of information by his eyes. In the second half of the performance film, with the constant death of the members of the Seven Samurai, the tone began to change from high-pitched to sorrowful, and young Gui Xiang began to understand the meaning of life. Judging from the initial dress, this is a young soldier with good family background, good family education, wet behind the ears and soft blood. He used to be addicted to the love with the peasant woman, and he was constantly passive in the sense of shame that violated the samurai morality. Many scenes in the film are narrated from his perspective, such as witnessing the death of a comrade-in-arms for the first time and slaying the enemy for the first time. Obviously, the narrative task undertaken by this character is to redefine what is the hero's self-identity. From kindness and hesitation at the beginning, to worship and study the long-hidden martial arts and personality, and then to resolutely fight and protect his teammates, Keitaro was also shaped into a warrior like Teru Shimada and others in this heroic self-cultivation. Most directors of general films know how to set such a role. The difference in skills lies in how to complete the hero's personality puzzle from the perspective of a small person, how to integrate with narrative lines without trace in this process, and how to present a convincing definition of hero at the end. By such strict standards, there are very few qualified hero films.

Katsura's love rose in the fire, but ended in tears. The lens is rich in metaphors. Katsuraro and Kikuchi Yang are guarding the corner, standing proudly among the mountains on the eve of the war, drinking a pot of wine and a knife, and easily dying in a joke. Kill array, the last village in the film, is extremely tragic, so I won't go into details here. The story of samurai being ravaged by western weapons is a typical metaphor for the decline of samurai class.

Kichiyo failed to protect the old farmer's family and was ashamed. She hugged the body in the water and cried wildly. Finally, kill array, with bamboo spears as its composition, conveys a cold atmosphere. In the end, all the thieves were wiped out, leaving only three of the seven samurai. The farmers have started production in the new year. Teru Shimada watched them transplant rice seedlings with great interest and sighed with emotion: We all lost, and the real winners are the farmers who are connected with the earth. The protagonist died, and the peasant girl resolutely broke up with Katsushiro. Only they are eternal, and warriors are passers-by of the times after all. Three generations of warriors, old, middle-aged and young, once again looked back at the land they had tried to protect in front of the four graves, and continued to embark on the road of defeat and wandering, waiting for the next death and glory. Three generations of warriors, four graves, crying and laughing for life and death, indulging in blood and fearless Director: Akira Kurosawa (end)