This was always going to be an important film for me. In 1960, when I was nine year’s old, my father took me to see John Sturges’ original version of The Magnificent Seven. It’s one of the first movies I can remember seeing on the big screen. I recall being thrilled by it and it was certainly instrumental in kindling the flames of what would become a lifelong obsession with all things celluloid. But of course, its storyline (itself inspired by Kurosawa’s Seven Samurai) wouldn’t really fly in this day and age. It tells the story of seven heroic cowboys who come to the aid of a village full of ‘lowly’ Mexican peasants who are being terrorised year after year by a gang of marauding bandits. If somebody was going to remake this particular classic, they would have to find a new approach – and to director Antoine Fuqua’s credit, he’s managed to do that.
If this version of the tale resembles another classic Western, it’s actually High Noon, where a bunch of townsfolk fail to come together to challenge a force of evil. Here, the denizens of Rose Creek are threatened not by bandits but by greedy industrialist Bartholomew Bogue (Peter Sarsgaard, doing the latest in a long line of creepy, evil stinkers). Bogue wants the land on which the town is built so he can mine it for gold and has offered each family a pittance in exchange for what they own. Anyone who defies him is summarily executed and this includes the husband of Emma Cullen (Hayley Bennett), who, looking for revenge, sets out to recruit some help and chances upon law officer, Chisolm (Denzel Washington) as he goes about his deadly duty. He listens to her tale of woe and finally gets interested when she mentions Bogue. It’s clear from the start that there is some unfinished business between the two men. Chisolm promptly recruits a band of misfit heroes to help him rescue the town… they comprise an ex-confederate sniper (Ethan Hawke), a roguish gambler (Chris Pratt) a Mexican gunslinger (Manuel Garcia-Rulfo) a Chinese knife fighter (Byung Hun-Lee), a native American bowman (Martin Sensmeier) and a shambling mountain man (a barely recognisable Vincent Donofrio).
From there on, it’s pretty much a series of spectacular shootouts, set amidst stunning widescreen locations. (There’s an irony here in that the seven set out to protect Rose Creek and by the film’s conclusion, there’s not much of it left standing, but we’ll let that one go). Critics have complained that the film isn’t realistic (no, really?) but I think they’re missing the point somewhat. As a rip-roaring entertainment, The Magnificent Seven mostly succeeds in its aims and if it doesn’t quite match up to its famous progenitor, well, that was a shootout it was frankly never going to win, because what passed for valour in 1960 is going to look pretty reprehensible in 2016.
My favourite bit of dialogue in this version? Emma Cullen proudly telling the other townspeople that she’s quite clearly the only one with enough balls to take on the bad guys. Give this movie a fighting chance – it’s at least earned the right to that.