Seven Samurai was made and directed in 1954, and perhaps it is the most famous film done by artist Kurozawa. It is designed as a blockbuster in every single sense. Its epic scale pities Takashi Shimura against the son of Toshiro Mifune’s wild cat intensity. Over clear cinematic dynamite, they are employed to guard the village against bandit raids. The film portrays the flexibility of humanism in a setup of rigid traditions. However, the reality is that the villagers and hired samurai are of different castes and could not mix. The storytelling in this film is clear, with several defined characters making it flowing fast, despite the film’s intermission.

The thrilling sweeps of action in the film scenes shown by artist’s trademarks accompanied by the use of human tides moving from up to down with an aide of a devised camera shots resulting in a rush as well as a flow of actions. The film production of the movie was perhaps peculiar. Instead of separate camera shots, Kurosawa used close-ups, which is noticed in some of the last battle scenes. The recurring viewings of “Seven Samurai” film depict visual patterns and arrangements. In consideration to the ironical events in the first battle with the bandits bookend in two episodes; initially, the villagers heard about the coming of the bandits and hurried around in panic.

Samurai rushed to calm and contain the bandits as ordered by his owner Kambei; the ronin moved from one group to the next to get them into cover. Later, when the raiders have been repulsed, unfortunately, a wounded bandit fell in the village square; surprisingly the villagers move forward to kill him. At the same time, Samurai rush about repulsing them. Such similar mirrored scenes can be observed throughout the film. The film’s composition also comprises of an intuitive feeling. Artist Kurosawa uses a deep fined focus to capture the concurrent actions in the background, middle alongside foreground.

He always outlines the distance with barriers. For instances the camera shots where the samurai is in the foreground, and through building slats. It shows that Kurosawa’s flexible camera avoids cuts to design comparisons, when he begins the dialogue, clearing a room, and wraps in a close-up point of the conversation which is another character. Despite several deaths and violent actions in the “Seven Samurai,” they don’t form part of the film. The movie is about duty and social responsibilities.

However, in “Farewell My Concubine” produced in 1993 by Chen Kaige to portray a story of endurance and nationalistic values. The film editing techniques used by Chen depicts Chen as an outstanding director. Indeed, Kurosawa is an auteur as compared to Chen based on film editing. Chen editions are chronological and straightforward to follow, and he practices continuity editing. In Chen’s film costuming, setting alongside props provides a fascinating as well as a vibrant edge. Not only the opera actor costumes which are rich in color seen in his film but also the costume’s details and items that were worn by other actors.

Due to the intensive focus on detail, Chen’s film provides definite narrations of events happening outside the opera environment and a national narrative of China. In “Farewell My Concubine”, the director offers several themes to the foreground such as nationhood, masculinity and loyalty questions. As mentioned earlier, the events surrounding opera facilitates the Chinese narration to the forefront. Thus, Chen’s film provides nationality and Chinese culture to the viewers.

Focusing on the historical narration of these two films, and their cultural presentation, they both show artistic manifest. In Kurosawa’s following the death of the other four Samurai, the remaining three Samurai remained ronin, light-sabers are swords of samurai and a supernatural force, a version from the moral code of Bushido samurai. There is a portrayal of leadership skills from Shimura’s Kambei to arrange village defenses as perceived from ancient traditions. The compensation efforts by Kikuchiyo, he gets into the battle with the longest sword and swaggers around; thus the impulsive, brave and showoff characters of the old people is narrated to the contemporary generation.

The sporting activities performed by Kikuchiyo depicts the period when the East Asian nations admired sports as he conducts some stunts and difficult jumps. These characters and films scenes preserve the Asian culture and nationhood; an ability to vehemently defend their land and provide a national narrative outside an opera.  Kikuchiyo’s inability to control unruly local horse elaborates the ancient war wares used in the film’s settings. Moreover, “Farewell My Concubine” the film is unbelievably unremarkable since it employs almost entire China’s modern history.

The characters’ private live reflects transformation fortunes. A national toast of nation at some point, being homeless outcasts and the political destructions at another time are some of the transformations illustrated by the film. The film is a more ambitious and less simple-minded story. The heroes in the film are controlled and buffeted by the events, a contrary opinion to most of the other films. “Farewell My Concubine” demonstrates significant moments of the modern history of China. Also, it describes the communist take over as well as Cultural Revolution in China.The apparent role of the concubine in traditional China is vividly shown in the famous traditional opera. Deyi’s unwise decisions led to collaborations with enemies.

It is evident that the Farewell My Concubine is not politically sophisticated under the leadership of a ‘king’ hence it provides a balanced China’s long history of cultural tradition. Its anachronistic glory is accepted even by the Red Chinese. The Cultural Revolution filmed shown how young ideologies impact their political correctness on ancient generations.

Although the two films provide historical relevance, there aspects of kinship, opening with Chen’s film there is homosexuality and prostitution. Dieyi who is a homosexual has feelings for Xiaolu who fails to share his senses back and marries Juxian, a beautiful prostitute. This lead to jealousy and resentful by Dieyi, later the situation was resolved after long years of Juxian perseverance; she emerged as a hero over both men. Xiaolu and Juxian formed a family, and her private life is substantially raised by opera as a prostitute as it is glamorous. Therefore Deyi is homosexual with labyrinthine emotional fluctuations. Chen demonstrates the individual personalities of these characters.

Back to the Kurosawa’s artistic formulation of “Seven Samurai” there is aspects kinship, the samurai could wake up every morning to perform their task imposed on them by the community. So, it shows the masochistic perseverance a fundamental cultural trait in Japan, to achieve vigorous social obligation. Interestingly, both the samurai and bandits persevere, the bandits know positively that the village is defended, but they still organize sequences of raids; hence they performed the obligated duties. The use of villages as well as bandits depicts the practicality of kinship of this society. There is a romance between samurai Katsushiro and a village girl, though such kind of relationship was forbidden.

As mentioned earlier, the samurai and the villagers could not come together they were under rigid traditions. However, their relationship shown episodes of love albeit a daughter of a farmer cannot imagine marrying a ronin. It leads to confusions and several arguments after they were caught together before the final battle. Their relationship escalates the need to understand young people and romance. An appeal of romance is developed for modern viewers. Shimura’s Kambei emerges as a veteran and keeps his head clean and clear to differentiate him priest who could perform some cultural rituals to the hostages.

Amicably, the two films; “Farewell My Concubine” and “Seven Samurai” demonstrate women as sexual modalities. They both describe the patriarchy and feminism. The feminine gender is convinced to romance, evident as Juxian who practiced prostitution as her private lifestyle and later married Xiaolu in Chen’s film. While a farmer’s daughter falls in love with a ronin against their customs and traditions. This shows that even in the ancient decades there were romances as an appeal to social life. Both of the films are associated with the cultural narration of the East Asian nations like Japan and China.

Therefore, cinema is melting pot of ideas, through which each composition, sensibly timed edit and every sentence of dialogue are remolded from a profound cinematic grammar, pulled out over several years of cultural dynamics and film molding. Thus it does not take much to be an outstanding film-maker once one has a camera alongside diligent knowledge and skills about photo editing. It is evident from Kurosawa and Chen, who picked up their cameras and provided a fantastic film art. Simultaneous integration of events forms an essential point of film production.  Film editing techniques employed by these directors resulted in unbelievable productions, which enjoyed nominations and have won several titles in the film production field.

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