Love it or hate it, someday, your favorite film will be remade, and if it sucks, you’ll always have the original to look back on. That being said, every now and then comes a remake that, while not necessarily justified in existence, packs one hell of a punch and brings the story, in some way, into a modern context. Director Antoine Fuqua (Training Day) has done just that with his take on John Sturges’ The Magnificent Seven, itself a remake of Akira Kurosawa’s Seven Samurai, but his is no copy-paste remake of either’s vision.
Relocating the setting to the California Territory in the late 1800s, the people of Rose Creek are at their wit’s end, as ruthless Bartholomew Bogue (Peter Sarsgaard, Elegy) is taking their land and lives by force, and all for his own personal gain. One such a townsperson who has lost her home and her husband is Emma Cullen (Haley Bennett, Hardcore Henry). Traveling the near cities looking for help to stand up to Bogue and his men, she finds Sam Chisholm (Denzel Washington, Antwone Fisher), a warrant officer who joins her cause almost on the spot. Fighting at Chisholm’s side are noted boozer Joshua Farraday (Chris Pratt, Guardians of the Galaxy), ex-Confederate sniper Goodnight Robicheaux (Ethan Hawke, Sinister), assassin Billy Rocks (Byung-Hun Lee, G.I. Joe: Retaliation), Mexican outlaw Vasquez (Manuel Garcia-Rulfo, Cake), lone Comanche warrior Red Harvest (Martin Sensmeier, Lilin’s Brood) and hunter Jack Horne (Vincent D’Onofrio, The Judge). Together, they set out to help the townspeople take back what is theirs… and settle a few personal scores.
Those who complain about this remake existing should take into account what could have been — At the project’s inception, Tom Cruise was set to star, but he dropped out over salary issues, and thus we have Fuqua’s vision, brilliantly written by Nic Pizzolatto (True Detective) and Richard Wenk (The Equalizer) and diversely cast in a day and age when many are decrying Hollywood movies for a lack of such casts. However, diversity does not solely make this cast succeed, and having the cool and collected Washington lead this team is a brilliant choice — he is the perfect successor to Yul Brynner. Pratt, channelling his inner Star-Lord is charming, but not suffocating, as the womanizing Farraday, something between Victor Mature’s Doc Holliday in My Darling Clementine with elements of Taylor Kitsch’s Gambit in X-Men Origins: Wolverine.
Something the surprised me was that Hawke’s character, Robicheaux, is written as having owed his life to Chisholm, in spite of the fact that the former’s character was a Confederate — it’s good to see redemption of a villain in a big-budget film. Lee and Sensmeier are silently fierce as their respective characters (and it’s refreshing to see an American Indian play a role that matches his ethnicity), but it’s D’Onofrio who steals the show, channelling the best of Andy Devine with the solemnity of a child at prayer. These being said, a story is rarely complete without a great villain, and Sarsgaard is terrific as the lawless lord of the land. Bogue exudes all the menace of a serial killer, filling the viewer with silent fear, as if cornered by a cobra.
More important than all of this, however, is that Fuqua never feels the need to call out the fact of his cast’s diversity — the N-bomb, or any blatant slur, is not to be found in this film (take note, Tarantino), and on the opposite side, there is no deification of any one member of the seven above the other. Further, unlike the original film, there is no romantic subplot involving one of the seven, and that’s exactly how it should be — this is a tale of frontier justice; there’s little time to smooch while bullets fly over your head.
I do have a couple of misgivings about the film — nothing that drags it down considerably, but still, Haley Bennett’s Emma, while far from being a damsel in distress, is rarely seen with a smile on her face. Granted, things go horribly for her in the first scene and she may well go down with her village, but even when the town is partaking in minor pleasantries, she is still solemn. Still, I’ve never been in such a situation, so who am I to talk? Lastly, the montage of the seven training the townsfolk in weaponry goes over too fast — it comes off as somewhat hard to believe they became good marksmen so fast.
Even so, I say praise be Antoine Fuqua, because he has done what few others could — remaking a classic is no walk in the park, but he does so with tact and poignancy, and perfect for the age we live in. After all, if we can’t defend ourselves against tyranny, what good are we?
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