All great works of art are said to be imitations and George Lucas’ greatest attempt was more than inspired by “The Hidden Fortress,” a masterpiece by legendary Japanese filmmaker, Akira Kurosawa.

Initially released in 1960 and remastered by Criterion in 2001, Kurosawa’s most influential film continues to fascinate audiences even to this day, in spite of its arguable faults, few as they may be.

As with most jidaigeki films, it takes place during the Land of the Rising Sun’s Edo era, with a distinct focus on class conflict between the peasants and nobility, as well as that of rival clans.

At the forefront of our story are two peasants, Matakishi (Kamatari Fujiwara, “Yojimbo”) and Tahei (Minoru Chaki, “Gray Sunset”), who – in an effort to attain great wealth during the war – sell their homes to buy arms prior to the start of the film, only to ultimately lose everything when they are mistaken for members of the defeated side.

After encountering various mishaps, they find some cleverly concealed gold, as well as a stoic man claiming to be the renowned Azuki general, Rokurota Makabe (Toshiro Mifune, “Seven Samurai”) and a brash, young, independent girl in men’s clothing.

Little do the bumbling blunderers know that in this wandering warrior truly is the acclaimed general and the mute youth is in reality the incorrigibly vocal Princess Yuki (Misa Uehara, “Desperado Outpost”), sole survivor of the Azuki clan.

And the price on her head is astronomical, especially for those with a taste for gold.

Kurosawa’s approach to this charming tale is perhaps more accessible and lighter fare than his other films, as the focus on comedy is considerably greater.

As mentioned in an interview with Lucas, the story is told from the perspective of the “lowliest characters.” Although the film’s perceived protagonists may be the regal Matabe and the fiery Yuki, the plot – in reality – is moved by the morally ambiguous peasants.

And Kurasawa’s attitude toward the dynamic duo is certainly one of wit.

Matakishi and Tahei are hardly sympathetic characters. Even when they befall all sorts of atrocities at the start of the film, they rarely garner pathos. When they abuse what little power they have toward the end, they incite even less. Even Matabe insists that although they are incredibly shifty, he “can rely on their greed.”

But they are genuinely funny, as it’s almost impossible to suppress the gut-splitting guffaws compelled by their darkly comedic scenes.

That does not at all imply that the notion of empathy is absent from the inspirational epic. Toshiko Higuchi (The Rose in the Mud), as the captured Azuki peasant girl draws emotional support from more than just the audience – her plight reaches the princess, who boldly orders a sacrificial move for her freedom.

Kurosawa’s simultaneously profound and lighthearted take on the Edo adventure is almost flawless in its execution, from its brilliant, long takes to the phenomenal acting by its lead characters.

Mifune is so astounding as the regal Makabe that it’s difficult to imagine that he does not carry this level of grace and poise with him everlastingly. (One only needs to see “Seven Samurai” to see its inverse.) It’s almost as though the actor dreamed this disciplined, aristocratic man into existence – so lifelike is his interpretation of the devoted guardian.

With Criterion’s masterful restoration, the vivacious visuals in this vertiginous visage for the mind are even more impeccable. Along with the digital restoration, the DVD features the aforementioned interview with Lucas and the original theatrical trailer – which is available in the film’s original quality, in case anyone is curious to see the difference.

Kurosawa’s epic tale of high adventure behind enemy lines elicits more than simple thrills or chuckles — it awes with its mastery, it engages with its cleverness – but most importantly, it moves with its tremendous heart.

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