In 1993 Clint Eastwood released ‘A Perfect World’ because of this the project to make a remake of the popular ‘The Magnificent Seven’ (John Sturges, 1960) was considered. The film was not a success in USE, but it nailed in Europe, which the main cast was Eastwood, Kevin Costner and Tom Cruise. However, the production needed the union of two majors and an astronomical budget, so the project was postponed.
Twenty years later Antoine Fuqua, a director known as interesting and capable of the worst, takes on the biggest challenge of his career. In fact, the audacity to not redo an already excellent film was a little bit upset. We are already more than used to revisions of all kinds. With its rulings and conventions represents one of the best retro exercises that come to us. The film genre for excellence through an unnecessary film,but with good scenes
Fuqua strip cliches. If Sturges,who anticipated the dirt and subversion of “eurowestern”, practically created some icons, the African-American director follow him by simply updated the canons of the current blockbuster: racial variety and the reduction to a minimum expresion. No one memorable character, but there are very effective interpretations, especially those of Denzel Washington, Chris Pratt, actor with commendable ease to connect with the audience, and Vincent D’Onofrio.
Around those clichés, plus others that characterize the genre of genres, ‘The Magnificent Seven’ does not complicated his life. The story we already know, the return to the double myth of Kurosawa and Sturges is based on gathering a bunch of action sequences, leaving the rest to be built virtually alone. The echoes of other titles in the western resonate without too much presence, something almost surprising. One is, of course, the portrait on revenge as a psychological boost for several characters.
And that revenge, in personal levels, becomes an interested and larger proportions struggle in a context that has never lost any of the actuality. The rich always take advantage of the poor. In these troubled times hard to believe in an era of humanity sea, not the message of ‘The Magnificent Seven’ can not be stronger. There is only one way to overcome the abuse of power, and is wielding a weapon. Fuqua makes it very clear, very firm hand filming the shootings and expected deaths of some of the characters.
Unless decisive sequences of shootings, excellently planned, with very powerful moments, like a stick of dynamite, the rest of ‘The Magnificent Seven’ is simple, predictable and rather topical. Even some more licenses are allowed to count on the complicity of the public. As an example, he is drawing on the weak character who gives life Ethan Hawke, and their use in the story, an unnecessary footage.
James Horner, in his latest film work, left approximately seven songs for the soundtrack, which was completed by Simon Franguel (Horner collaborator for many years. The success, as more or less in the rest of the film, is not to pretend to forget Elmer Bernstein, to whom is reserved the end credits where the famous leitmotif of the film sounds, and causes an effect comparable to that of John Williams Star Wars. The nostalgia as a business and a final cathartic effect.