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I have not seen “The Elegant Seven” in widescreen since I first saw it in the theatre in 1960. I have been watching it in pan & scan for about 40 years now. It is my approved motion describe. Seeing it in widescreen opened unusual vistas for me. It finaly seems like the astronomical scale yet personal drama that it always deserved to be. I can greater luxuriate in the composition of the different camera frames by noticing facial expressions and the like that have gone unnoticed for years. There is more character development here than I even imagined. There is more beauty and detail to the landscape unto which the memoir unfolds. The film has now at last taken on legendary proportions thanks to this format. Yul Brynner as Chris, Steve McQueen as Vin, Charles Bronson as O’Reilly, Robert Vaughn as Lee, Brad Dexter as Harry Luck, James Coburn as Britt and Horst Buchholz as Chico are all imbedded into the psyche of anyone who ever saw this movie and felt its emotional impact. These are staunch cloak heroes.
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There is something very magical about this film. This is different from every other Western that came before it. I bear it is the nature of the seven gunfighters, their motives for that one chance at gallantry and redemption. That combined with the draw the yarn is visually told makes for its greatness. It teaches us something about nobility, dignity and devotion. The hearse-ride taken up to Boot Hill with Yul Brynner driving and Steve McQueen riding shotgun sets the stage and tone for the entire film. Images such as when Charles Bronson, is zigzag over with a bullet inside and the three petite Mexican boys clutch him crying out his name while in his death throes bring a prance to the glimpse. In another the viewer reflects along with Yul Brynner as he takes the tiring, James Coburn’s knife out of the adobe wall and folds it gently in his hand. These are heart rendering and indelible images. Even Eli Wallach as the bandit Calvera gets his moment of pathos. After being mortally wounded by Yul Brynner’s bullet, Calvera can not gain that the seven came attend to assign the village even after the villagers told them that they did not want their assist anymore. “You came benefit. A man like you. Why? ” asks Calvera as he dies. Yul Brynner has no retort for him. It was as if Brynner had committed some sacrilege.
Director John Sturges captured the ambiguities of the human spirit in this film. Unbiased as he directed “The Mountainous Run,” Sturges’ directorial style is so collected that his acquire storytelling glosses suitable over the depth and complexity of his enjoy work. The ultimate shame is that all Sturges’ profoundness is all just up there on the camouflage. He literally outdoes himself along with a petite benefit from Elmer Bernstein’s acquire and William Roberts’ script. Bernstein’s insertion of snappily tempo snippets here and there into the procure advances the film and pulls the viewer correct into the fable with an emotional fervor along with his unforgettable main title theme. William Roberts’ script is so fleshy of memorable and appealing dialogue that it too smoothly advances the sage with ease and shear magnetism playing on our emotions.
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For me Yul Brynner was the epitome of `cool’ and aplomb. From his shadowy gray and dark outfit down to the tip of his thin cheroot he was the kind of man others notice up to but preserve their distance. Yul Brynner as Chris, was a man of few words and often communicated by the mere gesture of the hand. Of the seven, he was the cohesive element that drew them together simply by his demeanor. The aura of his worldliness beckoned them all to the site he was heading. It was the same dwelling they were all going. He was unbiased the first to witness it. Brynner too was the cohesive element that kept them all together. Brynner was the one who followed some unwritten code of honor that is only alluded to in a few passages. McQueen was perfect as the gunfighter who was “unbiased drifting” and signed on with Brynner. The levelheaded McQueen represents the other characters’ realizations one by one as they join. James Coburn was perfect, as the stoic knife throwing Britt, who lived only for the thrill of the moment. Charles Bronson as O’Reilly played his stoically rugged but sympathetic role better than any actor could have. Bronson had a fresh visual presence whose kind facial expressions counterbalanced his pockmark face and strong physique. Bronson was a conundrum unto himself and perfect for the role. Brad Dexter’s performance as the unlucky fortune hunter has gone unrecognized. He was the least proper of the seven and died the mercenary that he was, yet there is some nobility to one’s profession in that. Quiet, he gains our sympathy after returning in the clutch and saves his friend Chris and in turn is killed. Dying in the arms of his friend, Chris lets him go to the grave with a lie. Robert Vaughn’s character was probably the most lively of the seven. His enigmatic portrayal of Lee the tormented soul and not really the coward he labeled himself somehow never stood out. Only his act of redemption, his gunplay and death during the finale lingers. Vaughn’s portrayal is a success because as he said he was “the coward hiding out in the middle of a battlefield” and at that he succeeded. Horst Buchholz gave an energetic and bravura performance the only one of the seven that had not yet been corrupted by the world. At the extinguish he symbolically hangs his guns up and roles up his sleeves. Brynner and McQueen say that “only the farmers have won” and they lost. As they perambulate off into cover immortality I assume we all won.
Yul Brynner, wait on in the tedious 1950’s, wanted to articulate an American version of the SEVEN SAMURAI, as an western. So he bought up the movie rights. He wanted to cast Anthony Quinn in the lead, as Chris. Brynner had been directed by Quinn in the remake of THE BUCCANEER. Quinn would have been mountainous as Chris, the leader of the Seven; and what a different film it would have been. But, alas, Brynner himself took the allotment, and place his hold notice of individuality on it. He walked like a immoral between a panther and a ballet dancer; light on the balls of his feet. Ironically, as an actor, he was dreary on the scheme, and not faded to Westerns. But artistically, this was never apparent in the finished film.
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Many of the Seven’s actors had seen the Kurosawa film, and they were very inflamed about transferring it to the American West. Eli Wallach, as Calvera, in unbiased a few short scenes, found both the humor and the cruelty in the bandit chieftan. His accent and speech pattern were fairly authentic; more so certainly than the young German actor, Horst Buchholz, endeavoring to acquire a southwestern/Texan/Mexican lisp. Director, John Sturges, had mammoth hopes for Horst; the camera loved him. But it was the trio of studs, Steve McQueen as Vin, Charles Bronson as O’Reilly, and James Coburn as Britt, that dominated the frame.
Steve McQueen, wearing skin-tight leather stovepipe chaps, spent a lot of time finding ways to upstage Yul Brynner. There was a rumor that he would have preferred playing Chico, the Buchholz character. McQueen’s manic physical performance, lightning quick with a pistol and a quip, seemed to work well for him, and it gave him more than his part of focus. His Vin emerged as lethal, lean, and hungry; yet weary of the gunfighter’s spot, and envious of the simplicity and the honor of the peasants fighting for their families and their homes.
James Coburn, as Britt, was laconic and hazardous, and living on the edge of his blade; competing mostly with himself for the next tremendous thrill. Coburn got the allotment he wanted, and though he was given minimal dialogue, his deliveries were classic. This residence the mold for his future career.
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Charles Bronson as Bernardo O’Reilly, half-Irish, half Mexican, was solid as a rock; an experienced stone killer, and yet collected a soft touch for the children of the village. His death scene touched us. He found the pulse of his character, and he was both unsafe and decent.
Robert Vaughn, as Lee, seemed wretched and lost. His allotment had been rewritten, and expanded for him. Yet he seemed ill-suited for the fragment, and the genre. Even his costume seemed ill-fitting. Piece of the plight was that his characters’ inability to participate in the first couple of firefights left us with slight sympathy for him. Later then, in his scene with the peasants, in which he admitted his horror, the emotions seemed forced and poorly conceived. His last moment heroics and death did itsy-bitsy to balance the scales.
Brad Dexter was nearly invisible. He is the one actor in trivia games no one can remember. His character, Harry Luck, with twice the dialogue as Coburn, paled in comparison. Piece of it was Dexter himself. He was a bland, middle-of-the-road, B-Movie heavy, and it was exclusive to cast him, and thrust him in amongst all of those young turks. He did a credible job, but he was completely outshined by the future smart stars.
Vladimir Sokoloff, as the village’s “obsolete man”, gave such a amazing and touching performance, one did not realize the actor was not Latino. Like Eli Wallach, his talent as an actor transcended ethnic boundaries.
John Sturges, a ancient director of westerns, found impartial the lawful balance of action and character. Mexican farmers substituted glowing for the new Japanese farmers. And brigands, or bandits, are prick from the same snide mold no matter what the era, or geography. Kurosawa’s classic runs like 3 hours in length, and it gave us mighty more in-depth character development; so that when these samurai began to die, we cared about them. In 1959, when SEVEN was filmed, three hour westerns were a non-existant species. Elmer Bernstein’s musical accumulate was revolutionary, and its pounding stacatto beat has become one of the most recognized pieces of music ever created for film.
This western, always listed in the top 50 best westerns, is a must-see. And the DVD version, in widescreen, is crisp and certain and shimmering, and it helps us to recapture that magical feeling we had the first time we saw this film in a movie theatre.
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