Reception
Howard Thompson of The New York Times called the film a "pallid, pretentious and overlong reflection of the Japanese original"; according to Thompson, "don't expect anything like the ice-cold suspense, the superb juxtaposition of revealing human vignettes and especially the pile-driver tempo of the first Seven." According to Variety, "Until the women and children arrive on the scene about two-thirds of the way through, The Magnificent Seven is a rip-roaring rootin' tootin' western with lots of bite and tang and old-fashioned abandon. The last third is downhill, a long and cluttered anti-climax in which The Magnificent Seven grow slightly too magnificent for comfort.
At the 33rd Academy Awards, the score was nominated for Best Score of a Dramatic or Comedy Picture, losing to Ernest Gold's score for Exodus. The Magnificent Seven was listed at #8 on AFI's 100 Years of Film Scores.
The film has grown greatly in esteem since its release, largely due to its cast (several of whom would go on to become superstars over the decade following its release) and its music score. As of 2012, it has a freshness rating of 93% on Rotten Tomatoes. It is the second most shown film in U.S. television history, behind only The Wizard of Oz. The film is also 79th on AFI's 100 Years...100 Thrills.
Read more about this topic: The Magnificent Seven
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