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It is not difficult to speak of thematic dualities in Akira Kurosawas Judo Saga Sanshiro Sugata 1943 and Seven Samurai Scichinin no samurai 1957 and upon inspection a thematic presentation evolution is identifiable This giant of the world cinematic community has inspired much discussion much praise yet little unified thematic analysis This however seems strangely fitting since Kurosawa himself is unwilling and perhaps unable to define his thematic or stylistic intent any more than we the viewers can pigeonhole his reluctance Donald Ritchie one of the few authors to actually assess the directors work and because of this whose views and critical opinions I will be referring to throughout contends Aesthetics presume a system a style presumes an expression and a reflection of the man himself Neither are of any interest to the actuality of the film to be made This alluding to the objectivity of what is real compared to what is implied or presumed There is a distinct dichotomy at work within Kurosawan films a didactic presence that insists the practicality of the image - observed unquestioned - and the intent - abstract philosophical In reference to heroes in Kurosawan films Richie explains Kurosawas heroes are always completely human in that they are corrigible The Kurosawa fable shows that is difficult indeed to know but at the end of the picture the hero has come to learn that to know and act are one and the same The Kurosawa villian is the man who thinks he knows who thinks he is complete This is a running theme throughout Kurosawas films particularly in those which combine jidai-geki with gendai-geki chambara such as Sanshiro Sugata and Seven Samurai In the former Sanshiro is the hero who learns humanity In Seven Samurai it is Kambei who teaches it Both heroes act out of goodness to be sure but each must sacrifice their beliefs thier honor even their status in order
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