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The Magnificent Seven (2016 film)
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The Magnificent Seven
Theatrical release poster
Directed by
Antoine Fuqua
Produced by
Roger Birnbaum
Todd Black
Screenplay by
Nic Pizzolatto
Richard Wenk
Based on
Seven Samurai
by Akira Kurosawa
Shinobu Hashimoto
Hideo Oguni
Starring
Denzel Washington
Chris Pratt
Ethan Hawke
Vincent D'Onofrio
Byung-hun Lee
Manuel Garcia-Rulfo
Martin Sensmeier
Haley Bennett
Peter Sarsgaard
Music by
James Horner
Simon Franglen
Cinematography
Mauro Fiore
Edited by
John Refoua
Production
companies
LStar Capital
Village Roadshow Pictures
Pin High Productions
Escape Artists
Distributed by
Metro-Goldwyn-Mayer
Columbia Pictures
Release date
September 8, 2016 (2016-09-08) (TIFF)
September 23, 2016 (2016-09-23) (United States)
Running time
133 minutes[1]
Country
United States
Language
English
Budget
$107 million (gross)[2]
$90 million (net)[3]
Box office
$162.4 million[3]
The Magnificent Seven is a 2016 American Western action film directed by Antoine Fuqua and written by Nic Pizzolatto and Richard Wenk. It is a remake of the 1960 film of the same name. The film stars Denzel Washington, Chris Pratt, Ethan Hawke, Vincent D'Onofrio, Lee Byung-hun, Manuel Garcia-Rulfo, Martin Sensmeier, Haley Bennett, and Peter Sarsgaard. It is the final film of composer James Horner, who died the previous year after composing a part of the score; his friend Simon Franglen completed the music.
Principal photography began on May 18, 2015, in the north of Baton Rouge, Louisiana. The Magnificent Seven premiered on September 8, 2016, at the 2016 Toronto International Film Festival, and was released in the United States on September 23, 2016, in conventional and IMAX theatres.[4] The film received mixed reviews from critics, although the cast and action sequences were praised, and grossed $162 million worldwide.
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 Development
3.2 Casting
3.3 Music
3.4 Filming
4 Release
4.1 Marketing
5 Reception
5.1 Box office
5.1.1 North America
5.1.2 Outside North America
5.2 Critical response
5.3 Accolades
6 References
7 External links
Plot[edit]
In 1879, robber baron and gold-mining tycoon Bartholomew Bogue assumes control of the American frontier town of Rose Creek, and subjects its residents to forced labor in his mines. After a town church assembly denounces him, Bogue has the church torched and kills a group of rebellious locals led by Matthew Cullen. Matthew's widow, Emma Cullen, and her friend Teddy Q. ride in search of bounty hunters to help liberate the town. They recruit Sam Chisolm, an African-American U.S. Marshal, who expresses interest after hearing of Bogue's involvement.
With the help of Emma and Teddy, Chisolm recruits gambler and outlaw Joshua Faraday, Mexican fugitive Vasquez, former Confederate marksman Goodnight "Goody" Robicheaux, Robicheaux's Korean traveling partner Billy Rocks, and legendary game hunter Jack Horne. The group encounters a Comanche warrior named Red Harvest, whom Chisolm persuades to join the posse.
The Seven enter Rose Creek and eliminate 22 Blackstone private military contractors on Bogue's payroll. Chisolm sends the corrupt sheriff Mr. Harp away to inform Bogue that they now control his holdings in Rose Creek. Chisolm surmises that Bogue will return with an army in seven days; the Seven (plus Emma) liberate forced laborers from a Bogue Mining digsite, and spend the next week fortifying the town and training the locals in combat. Meanwhile, Bogue receives the news of Rose Creek's liberation, murders Harp for his failure, and orders his Comanche enforcer Denali and his right-hand-man McCann to assemble an army. Robicheaux, haunted by his experiences in the Civil War and fearing his own death if he kills again, leaves the town the night before Bogue's arrival; Emma volunteers to take his place.
The next morning, Bogue and his army attack Rose Creek, which has been surrounded with traps and explosive networks. As the battle goes on, Faraday is shot and wounded by McCann, who is killed by Vasquez, the defensive line collapses, and Robicheaux returns to help. Bogue and his remaining men fire a Gatling gun from a hill leading into the town, killing many Rose Creek residents and Bogue's own mercenaries. Realizing they are outgunned, the Seven evacuate the townspeople and mount their last stand. Horne protects a wounded Teddy Q. from gunfire, but is killed by Denali, who is later killed by Red Harvest.
Faraday makes a suicidal charge up the hill and destroys the Gatling gun with dynamite, killing most of Bogue's remaining men. Robicheaux and Billy, sniping from the church's bell tower, are killed by a volley of gunfire while providing cover for Faraday's charge. Bogue and his two surviving mercenaries proceed into the town to confront Chisolm. After killing the two men, Chisolm enters a Mexican standoff with Bogue, and shoots his hand as he draws, disarming him. A wounded Bogue retreats into the church, where Chisolm reveals that his family was lynched in 1867 by ex-Confederate soldiers, who were hired by Bogue to drive homesteaders out of Kansas. After imploring Bogue to repent, Chisolm tries to garrote him; Bogue retrieves a revolver he stashed in his boot, but Emma shoots him dead from the church doorway.
The townspeople return to Rose Creek and thank the survivors for their service, while Faraday, Robicheaux, Billy and Horne are buried near town and honored as heroes. Emma, in voice-over narration, reflects fondly on their noble sacrifice that made them "magnificent".
Cast[edit]
The Seven
Denzel Washington as Sam Chisolm, an African American United States Marshal warrant officer from Wichita, Kansas, and leader of the Seven.
Chris Pratt as Joshua Faraday, a gambler with a fondness for explosives and card tricks.
Ethan Hawke as Goodnight Robicheaux, a former Confederate soldier and sharpshooter who is troubled by his past.
Vincent D'Onofrio as Jack Horne, a very religious tracker and mountain man.
Byung-hun Lee as Billy Rocks, a Korean immigrant and companion of Robicheaux and assassin who uses knives.
Manuel Garcia-Rulfo as Vasquez, a Mexican outlaw who has been on the run for several months.
Martin Sensmeier as Red Harvest, an exiled Comanche warrior and the youngest of the Seven.
Others
Haley Bennett as Emma Cullen, a young widow who hires the Seven.
Peter Sarsgaard as Bartholomew Bogue, a corrupt industrialist.
Luke Grimes as Teddy Q, Emma's friend who helps her hire the Seven.
Matt Bomer as Matthew Cullen, Emma's farmer husband who is murdered by Bogue.
Jonathan Joss as Denali, an exiled Comanche warrior who works with Bogue.
Cam Gigandet as McCann, Bogue's right-hand-man.
Sean Bridgers as Fanning
Billy Slaughter as Josiah
Production[edit]
Development[edit]
I kept reminding myself of when I was a 12‑year‑old boy, when I was a kid watching it with my grandmother, what was the feeling I had? How much fun was it? How cool were they? For me, I always had my grandmother in my mind when making a film. Would she enjoy this film?
—Director Antoine Fuqua on his approach to the remake.[5]
The film was reported to be in the planning stages in 2012, with Tom Cruise starring. It was reported that Kevin Costner, Morgan Freeman, and Matt Damon might join the film.[6] In early 2014, MGM chairman Gary Barber and his cohorts approached Antoine Fuqua to read the script by Richard Wenk and Nic Pizzolatto, while Fuqua was making Southpaw.[7]
Fuqua has loved Western films since discovering the genre at the age of 12, and has said that his grandmother, with whom he would watch films such as Shane (1953) and The Searchers (1956),[8][9][10] was a key inspiration during the remake.[5][8][11] Fuqua also tried to stay true to the DNA of Seven Samurai, on which the film is based.[11]
Fuqua said he wanted to remake the film because the subject of tyranny and terrorism still prevails as it did in Seven Samurai. He has said that there is therefore a strong need for people to come and serve, which is what samurai means – "to serve."[12] Fuqua never imagined he would get a chance to direct a Western film, and when MGM called him to helm the picture, he hesitated at first, given the high regard he had for Seven Samurai and its director, Akira Kurosawa.
Casting[edit]
Fuqua worked to create a diverse cast[13] by incorporating actors of color such as African-American Denzel Washington, Korean Byung-hun Lee and Mexican Manuel Garcia-Rulfo, and making sure the lead female Emma Cullen (Haley Bennett) did not conform to stereotypes.[14][15] It is a decision Fuqua says reflects historical reality more than it does any conscious attempt to update the story. "There were a lot of black cowboys, a lot of Native Americans; Asians working on the railroads. The truth of the West is more modern than the movies have been."[16] When Fuqua met studio executives to see the possible actors for the film, he found out that they were all white. He found this to be problematic and wanted instead to make the cast diverse so that the audience could identify with more of the characters.[14] The actors were cast between December 2014 and July 2015.[17][18][19][20] At one point, Jason Momoa was in talks to join the project but had had to leave because he was already booked to play Aquaman.[21] The cast were put through cowboy training before filming commenced.[8] They were sent to boot camps in order to hone their skills.[14]
Denzel Washington's character, warrant officer and bounty hunter Sam Chisolm,[22] was renamed from Chris Adams (played by Yul Brynner in the original film).[23] It is Washington's first Western film.[24] Washington did not watch Western films growing up, as it was the end of the Western era in cinema. Moreover, he and his siblings were barred from going to the movies since his father was a minister in a church. They instead grew up watching biblical films like King of Kings and The Ten Commandments. However, he has admitted seeing portions of Rawhide and Bonanza shows.[12][24] Washington did not watch the original film in preparation for this but has watched Seven Samurai.[24] This was an arbitrary decision of his, since he figured that watching the original film would not help him much, "[Not seeing it] allowed me to do whatever I wanted to do. Instead of trying not to do what someone else did."[25][26] As with his previous films, Washington would start off the day by kneeling down and praying, asking for forgiveness for all his wrong-doings. "For me," he said, "this is more than just making movies. It is a platform."[12] Fuqua said that Washington, with whom he has twice collaborated, was his first choice to be cast irrespective of which role. The producers were skeptical whether he would take the job since it was a Western film, but Fuqua flew to New York City to negotiate with Washington, who accepted the offer.[5][9]
Chris Pratt described his character Josh Faraday as "a bit of a fox, a trickster. He's a gambler, a drinker. He loves the ladies. But he's deadly in a fire fight."[22] Like Washington, it is also Pratt's first Western film.[24] Pratt began watching Western films at the age of 31 while filming in London, and credits Gary Cooper for revitalizing his perspective towards Western films.[12][24] Fuqua, aware of Pratt's penchant towards Western films, reached out to Pratt, who called back in a few days singing "Oh Shenandoah," to which Fuqua replied, "He's it. He's Steve McQueen."[5]
Fuqua's approach to Ethan Hawke's character Goodnight Robicheaux, a former Confederate soldier, was to picture him as if Christopher Walken's character Nikanor "Nick" Chevotarevich in The Deer Hunter was an emotionally shattered Civil War veteran.[27] Hawke was the first person to come on board after the project was finalized.[7] Hawke stumbled upon Fuqua and Washington during the New York premiere of The Equalizer in 2014 and, upon learning that a remake was in the works, he asked Fuqua to cast him in the film.[27] Like Washington, The Magnificent Seven marks the third collaboration between Hawke and Fuqua after Training Day (2001) and Brooklyn's Finest (2009).[27]
Manuel Garcia-Rulfo described his character Vasquez, a bandit on the run from the law, as someone who loves gunfighting.[28]
Martin Sensmeier auditioned several times to land the role of Red Harvest, a native Comanche warrior.[29][28] Sensmeier stayed off social media and studied intently in order to portray his part.[13] Scotty Augere, who previously worked on Dances with Wolves, taught Sensmeier how to ride a horse bareback and would ride with him two hours a day.[13]
Vincent d'Onofrio was cast as mountain man Jack Horn on the urging of co-stars Chris Pratt and Ethan Hawke.[30] For the role, d'Onofrio developed a raw, high-pitched voice to give the impression of a man who'd lived in the wilderness for years without speaking to people. When he asked to test the voice for Fuqua, the director refused to listen, instructing the actor to surprise him with it in his first scene, which resulted in a delighted Fuqua laughing so hard that he almost ruined the take.[31]
Music[edit]
James Horner was tapped to write the film's score, but he died in June 2015, before filming could commence. In July 2015, Fuqua learned that Horner had already begun working on the music before his passing, and had intended to present it as a surprise.[32] Horner's friend and score producer Simon Franglen co-composed the score afterward. It was released on September 16, 2016 by Sony Classical, and is the third Horner-score released posthumously.[33]
Filming[edit]
Principal photography on the film lasted 64 days, from March 18 to August 18, 2015, in the north of Baton Rouge, Louisiana.[34][35][36] Other locations include St. Francisville; Zachary, Louisiana; Ridgway, Colorado; and New Mexico.[7][35][36] Filming in St. Francisville was completed between May 18 and May 29, 2015.[37]
The climactic battle between the Seven and a small army led by Bogue took three weeks to shoot; the weather was inclement.[7] Sometimes the cast and crew would wait in the on-set saloon for storms to pass, and, at times when the storm would worsen, the trailer would rock and they would have to leave the set.[7] Since his grandmother was the prime influence on the film, every day after filming, Fuqua would ask himself if she would have fun watching it.[8]
Release[edit]
The film had its world premiere at the 2016 Toronto International Film Festival on September 8, 2016,[38][39] and served as the closing-night film at the Venice Film Festival on September 9, 2016.[40] The film was originally set to be released on January 13, 2017;[41] however in February 2016, Sony Pictures Entertainment moved the release date this time from January 13, 2017, and then to September 23, 2016.[42]
Marketing[edit]
Sony kicked off its campaign on April 20, 2016, by launching the first trailer,[43] and the cast took to their social media platforms to reveal character-by-character.[44] Television advertisement began during the summer when the trailers were paired with the NBA finals and BET Awards as well as the 2016 Summer Olympics. Sony rounded out the campaign with a presence in live sporting events such as National Football League, NCAA Football and local Major League Baseball as well as highly anticipated fall premieres and original programming, like Empire, The Voice, American Horror Story, Fear the Walking Dead and Designated Survivor.[44]
Reception[edit]
Box office[edit]
The Magnificent Seven grossed $93.4 million in the United States Canada and $68.9 million in other countries for a worldwide total of $162.4 million, against a net production budget of $90 million.[3] The film had a global 2D IMAX opening of $4.3 million from 606 theaters.[45]
North America[edit]
In the United States and Canada, The Magnificent Seven opened alongside Storks, and was projected to open to around $30 million, with some estimates going as high as $50 million, which would make it one of the biggest September debuts of all-time.[46][47][48][49] The film opened in 3,674 theaters, including having the benefit of playing in all IMAX theaters for one week and a number of premium large formats and D-Box screens.[50] It made $1.75 million from Thursday previews and $12.7 million on its first day.[51][52] The film went on to gross $35.7 million in its opening weekend of which $2.9 million came from 372 IMAX theaters and managed to top the box office and scored the third biggest Western openers (not accounting for inflation), behind Rango ($38.1 million) and Cowboys & Aliens ($36.4 million).[53] It is also director Fuqua's second biggest opening and Washington's third biggest.[54]
The Magnificent Seven's robust opening in North America was partly attributed to the presence of Denzel Washington, with 61% of audiences citing him as the prime reason for seeing the film during its opening weekend.[54]
According to The Los Angeles Times, the film was released in theaters at a time when the Western genre had been struggling to attract wide audiences and accrue lucrative revenues, as it has shown considerable downfall in interest among patrons since the 1970s. The genre has had several recent box office flops such as The Lone Ranger (2013) and Cowboys & Aliens (2011), but has also found success in films like Django Unchained (2012) and True Grit (2010).[47] Its strong debut in North America was partly attributed to the presence of Denzel Washington, who industry analysts say is one of only a handful of movie stars today who consistently draws large audiences to theaters,[55] and also to Fuqua's direction.[56] Deadline.com pointed out that the production budget of films also plays an important role in determining a film's success. By comparison to other recent Western films, The Magnificent cost $90 million to make before promotion and marketing costs are included. The site pointed out that "the trick is keeping their budgets reasonable", unlike The Lone Ranger which cost a hefty $215 million to make and Cowboys & Aliens cost $163 million.[54] It became a financial recoverer for Metro-Goldwyn-Mayer after the studio lost a great deal of money with Ben-Hur the previous month and became the studio's second hit of the year following the sleeper hit Me Before You released in June this year.[57]
Outside North America[edit]
The film was projected to make around $100 million with foreign box office prognosticators expecting a similar $101.6 million total of The Hateful Eight.[45][54] It was released in South Korea (the first market worldwide) on September 14, 2016 and delivered an opening of $5.1 million, finishing in third place at the box office behind local film The Age of Shadows and Hollywood tent pole Ben-Hur.[58] Internationally, it next opened in the United Kingdom and Ireland, Germany, Spain, and Russia.[48] The following weekend, the film expanded to 62 markets and grossed $19.2 million from 63 markets (including Korea). IMAX made up $1.4 million from 234 theaters.[45]
It opened in first place in Russia ($1.8 million) Spain ($1.1 million) and Malaysia ($560,000) and second in the United Kingdom and Ireland ($2.6 million), Germany ($1.4 million) and Brazil ($1.1 million),[45] and had similar openings in Australia ($2.8 million) and France ($1.9 million).[59] China is not yet determined.[45]
Critical response[edit]
The Magnificent Seven received mixed reviews, with critics praising the cast but noting the film did not offer much that is original or innovative.[60] On review aggregator Rotten Tomatoes, the film has an approval rating of 63%, based on 272 reviews, with an average rating of 6/10. The site's critical consensus reads, "The Magnificent Seven never really lives up to the superlative in its title – or the classics from which it draws inspiration – but remains a moderately diverting action thriller on its own merits."[61] On Metacritic, which assigns a normalized rating to reviews, the film has a score of 54 out of 100, based on 50 critics, indicating "mixed or average reviews".[62] According to CinemaScore polls, audiences gave the film an average "A–" grade, on an A+ to F scale.[63]
IGN critic Terri Schwartz gave the film a 6.7/10 and summarized her review with: "The Magnificent Seven ends up being a bit too predictable to reach its full potential, but the fun the cast clearly had making it allows the movie to be an enjoyable ride while it lasts. Fuqua does his best to update the Western for the modern audience, but doesn't capture what made those films great in the process. The action is big and sleek, the characters are charismatic and the film looks beautiful, but this won't be a movie that stays with you long after you leave the theater.[64]
Chicago Sun-Times' Richard Roeper praised the film by giving a score of 3 stars out of 4, writing: "Over all [sic], this is a rousing, albeit sometimes cheesy, action-packed Western bolstered by Denzel Washington’s baddest-of-the-baddasses lead performance, mostly fine supporting work, and yep, some of the most impressively choreographed extended shootout sequences in recent memory."[65]
James Berardinelli of Reelviews gave a score of 2 stars out of 4, writing: "The original The Magnificent Seven found a perfect balance between moments of grand triumph and the understated, solemn denouement. This The Magnificent Seven has the dour ending without the high points preceding it. With two better versions of this story readily available, why bother with this mediocre re-telling? 'Currently recognizable actors' hardly seems like a good justification."[66]
MTV's Amy Nicholson decried the film, writing: "Fuqua’s made two clean piles separating good and evil, and in doing so, he’s thrown away the film’s point. Now we can trade our conscience for a bucket of popcorn. Today’s The Magnificent Seven is just another superhero flick that spends half its running time assembling a band of bulletproof daredevils. Which makes sense — the original inspired The Avengers, which published its first comic three years after it was a hit."[67]
Peter Travers of Rolling Stone gave the film three out of four stars, saying, "The new Seven isn't aiming for cinema immortality. It's two hours of hardcore, shoot-em-up pow and it's entertaining as hell."[68]
Accolades[edit]
Award
Date of ceremony
Category
Recipient(s)
Result
Ref(s)
Alliance of Women Film Journalists December 21, 2016 Remake or Sequel That Shouldn't Have Been Made The Magnificent Seven Nominated [69]
[70]
Black Reel Awards February 16, 2017 Outstanding Actor Denzel Washington Nominated [71]
Outstanding Director Antoine Fuqua Nominated
Jupiter Awards March 29, 2017 Best International Film The Magnificent Seven Nominated [72]
Best International Actor Denzel Washington Won
Saturn Awards June 28, 2017 Best Action or Adventure Film The Magnificent Seven Nominated [73]
Teen Choice Awards July 31, 2016 Choice Movie Actor: AnTEENcipated Chris Pratt Nominated [74]
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Jump up ^ Pamela McClintock (September 25, 2016). "Weekend Box Office: 'Magnificent Seven' Gallops to No. 1 With $35M". The Hollywood Reporter. Retrieved September 25, 2016.
^ Jump up to: a b c d Anthony D'Alessandro (September 25, 2016). "'Magnificent Seven's $35M Opening Is A Career Best For Director Antoine Fuqua; 'Storks' At $21.8M – Sunday AM B.O. Update". Deadline.com. Retrieved September 25, 2016.
Jump up ^ Mekado Murphy (September 26, 2016). "The Box Office Power of Denzel Washington". The New York Times. Retrieved September 28, 2016.
Jump up ^ Tre'vell Anderson (September 26, 2016). "'Magnificent Seven' wins box office shoot-out over 'Storks'". Los Angeles Times. Retrieved September 28, 2016.
Jump up ^ Brooks Barnes (September 25, 2016). "'The Magnificent Seven' Dominates Weekend North American Box Office". The New York Times. Retrieved September 28, 2016.
Jump up ^ Sonia Kil (September 18, 2016). "Korea Box Office: 'Shadows' Holds Holiday Weekend". Variety. Retrieved September 19, 2016.
Jump up ^ Nancy Tartaglione (October 2, 2016). "'Miss Peregrine' Books $36.5M; 'Finding Dory', 'Bridget Jones' Reach Milestones; Big Frame For Local Pics – Intl Box Office". Deadline.com. Retrieved October 3, 2016.
Jump up ^ Oliver Gettell (September 8, 2016). "Magnificent Seven reviews: Remake falls short of its title at TIFF". Entertainment Weekly. Retrieved September 9, 2016.
Jump up ^ "The Magnificent Seven (2016)". Rotten Tomatoes. Fandango. Retrieved December 15, 2016.
Jump up ^ "The Magnificent Seven Reviews". Metacritic. CBS Interactive. Retrieved September 29, 2016.
Jump up ^ "CinemaScore". cinemascore.com – via Twitter.
Jump up ^ Schwartz, Terri (September 22, 2016). "The Magnificent Seven Review". Retrieved October 1, 2016.
Jump up ^ Roeper, Richard (September 20, 2016). "Lightweight 'Magnificent Seven' entertains with guns blazing". Chicago Sun-Times. Retrieved October 1, 2016.
Jump up ^ Berardinelli, James (September 22, 2016). "Magnificent Seven, The (United States, 2016)". Retrieved October 1, 2016.
Jump up ^ Nicholson, Amy (September 23, 2016). "The Magnificent Seven gallops boldly into mediocrity". MTV. Retrieved October 1, 2016.
Jump up ^ Travers, Peter. "'The Magnificent Seven' Review: A Classic, Newly Diversified Western Rides Again". Rolling Stone. Retrieved 16 October 2016.
Jump up ^ Merin, Jennifer (December 16, 2016). "2016 AWFJ EDA Award Nominees". Alliance of Women Film Journalists. Retrieved December 17, 2016.
Jump up ^ McCue, Michelle (December 16, 2016). "'Arrival', 'La La Land', 'Hell or High Water' Among The Nominees for the 2016 AWFJ EDA Awards". WeAreMovieGeeks.com. Retrieved December 17, 2016.
Jump up ^ Davis, Clayton (December 14, 2016). "Black Reel Award Nominees – 'Moonlight' Leads with 13 Nominations". AwardsCircuit.com. Retrieved December 15, 2016.
Jump up ^ "The Jupiter Awards 2017". Jupiter Awards. Retrieved December 26, 2016.
Jump up ^ McNary, Dave (March 2, 2017). "Saturn Awards Nominations 2017: 'Rogue One,' 'Walking Dead' Lead". Variety. Retrieved March 3, 2017.
Jump up ^ Vulpo, Mike (May 24, 2016). "Teen Choice Awards 2016 Nominations Announced: See the "First Wave" of Potential Winners". E!. Archived from the original on May 25, 2016. Retrieved May 25, 2016.
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Songhai Empire
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Songhai
c. 1464–1591
The territorial extent of the Songhai Empire in c. 1500.
Capital Gao[1]
Languages Songhai, Malinké, Mandinka, Fulani, Bozo, Soninke, Hausa, Mooré
Religion Islam, African Traditional Religion
Government Empire
Dia (King)
• 1464–1492 Sunni Ali
• 1492–1493 Sonni Bāru
• 1493–1528 Askia the Great
• 1529–1531 Askia Musa
• 1531–1537 Askia Benkan
• 1537–1539 Askiya Ismail
• 1539–1549 Askia Ishaq I
• 1549–1582/1583 Askia Daoud
• 1588–1592 Askia Ishaq II
Historical era Postclassical Era
• Songhai state emerges at Mao c. 1000
• independence from Mali Empire c. 1439
• Sunni Dynasty begins 1468
• Askiya Dynasty begins 1493
• Songhai Empire falls 1591
• Dendi Kingdom continues 1592
Area
• 1500[2] 1,400,000 km2 (540,000 sq mi)
• 1550[3] 800,000 km2 (310,000 sq mi)
Currency Cowry
Preceded by Succeeded by
Mali Empire
Gao Empire
Saadi dynasty
Pashalik of Timbuktu
Dendi Kingdom
Today part of Benin
Burkina Faso
Guinea
Guinea-Bissau
Mali
Mauritania
Niger
Nigeria
Senegal
The Gambia
The Songhai Empire (also transliterated as Songhay) was a state that dominated the western Sahel in the 15th and 16th century. At its peak, it was one of the largest states in African history. The state is known by its historiographical name, derived from its leading ethnic group and ruling elite, the Songhai. Sonni Ali established Gao as the capital of the empire, although a Songhai state had existed in and around Gao since the 11th century. Other important cities in the empire were Timbuktu and Djenné, conquered in 1468 and 1475 respectively, where urban-centered trade flourished. Initially, the empire was ruled by the Sonni dynasty (c. 1464–1493), but it was later replaced by the Askiya dynasty (1493–1591).
During the second half of the 13th century, Mao and the surrounding region had grown into an important trading center and attracted the interest of the expanding Mali Empire. Mali conquered Mao towards the end of the 13th century; Gao would remain under Malian hegemony until the late 14th century. But as the Mali Empire started to disintegrate, the Songhai reasserted control of Mao. Songhai rulers subsequently took advantage of the weakened Mali Empire to expand Songhai rule. Under the rule of Sonni Ali, the Songhai surpassed the Malian Empire in area, wealth, and power, absorbing vast areas of the Mali Empire and reached its greatest extent. His son and successor, Sonni Bāru (1492–1493), was a less successful ruler of the empire, and as such was overthrown by Muhammad Ture (1493–1528; called Askia), one of his father's generals, who instituted political and economic reforms throughout the empire.
A series of plots and coups by Askia's successors forced the empire into a period of decline and instability. Askia's relatives attempted to govern the empire, but political chaos and several civil wars within the empire ensured the empire's continued decline, particularly during the brutal rule of Askia Ishaq I (1539–1549). However, the empire experienced a period of stability and a string of military successes during the reign of Askia Daoud (1549–1582/1583). Ahmad al-Mansur, the Moroccan sultan at the time, demanded tax revenues from the empire's salt mines. Askia Daoud responded by sending a large quantity of gold as gift in an attempt to appease the sultan. Askia Ishaq II (1588–1591) ascended to power in a long dynastic struggle following the death of Askia Daoud. He would be the last ruler of the empire. In 1590, al-Mansur took advantage of the recent civil strife in the empire and sent an army under the command of Judar Pasha to conquer the Songhai and to gain control of the Trans-Saharan trade routes. After the disastrous defeat at the Battle of Tondibi (1591), the Songhai Empire collapsed. The Dendi Kingdom succeeded the empire as the continuation of Songhai culture and society.
Contents
[hide]
1 History
1.1 Pre-imperial Songhai
1.2 Pre-imperial dynasties
1.3 Pre-imperial kingdom
1.4 Imperial Songhai
1.5 Sonni Ali
2 Imperial Songhai
2.1 Sonni Ali
2.2 Askia the Great
3 Culture
3.1 Economy
3.2 Criminal justice
3.3 Government
4 Decline
5 See also
6 References
6.1 Citations
6.2 Sources
7 Further reading
8 External links
History[edit]
Pre-imperial Songhai[edit]
Further information: Songhai people
In ancient times there were several different groups of people that collectively formed the Songhai identity. Among the first people to settle in the region of Gao were the Songhai's people, who established small settlements on the banks of the Niger River. The Sorko fashioned boats and canoes from the wood of the cailcedrat tree and fished and hunted from their boats and provided water-borne transport for goods and people. Another group of people that moved into the area to exploit the Niger's resources were the Gow people. The Gow were hunters and specialized in hunting river animals such as crocodile and hippopotamus.[citation needed] The other group of people known to have inhabited the area were the Do people. They were farmers who raised crops in the fertile lands bordering the river. Sometime before the 10th century, these early settlers were subjugated by more powerful, horse-riding Songhai speakers, who established control over the area. All these groups of people gradually began to speak the same language and they and their country eventually became known as the Songhai.[4]
Pre-imperial dynasties[edit]
Further information: Za Dynasty
The earliest dynasty of kings is obscure and most of the information about this dynasty comes from an ancient cemetery near a village called Saney, close to Gao. Inscriptions on a few of the tombstones in the cemetery indicate that this dynasty ruled in the late 11th and early 12th centuries and that the rulers from this dynasty bore the title of malik. Other tombstones mention a second dynasty, whose rulers bore the title zuwa. There is only myth and legend to describe zuwa origins.[5] The Tarikh al-Sudan (the History of the Sudan), written in Arabic around 1655, provides an early history of the Songhai as handed down through oral tradition. The chronicle reports that the legendary founder of the Za or the Zuwa dynasty was called Za Alayaman, who originally came from Yemen and settled in the town of Kukiya.[6] What happened to the Zuwa rulers is not recorded.[7]
Pre-imperial kingdom[edit]
Further information: Gao Empire
The camel-riding Sanhaja tribes were among the early people of the Niger bend region. They were locally known as the Tuareg. These tribes rode out of the great Sahara Desert and established trading settlements near the Niger. As time passed, North African traders crossed the Sahara and joined the Tuaregs in their Niger bend settlements.[citation needed] They all conducted business with the people living near the river. As trade in the region increased, the Songhai chiefs took control of the profitable commerce around what was to later become Gao. Between 750 and 950, as the Ghana Empire prospered as the "land of gold" far to the west, the trading centre at Gao became an increasingly important terminus for trade across the Sahara.[citation needed] The trade goods included gold, salt, slaves, kola nuts, leather, dates, and ivory. And by the 10th century, the Songhai chiefs had established Gao as a small kingdom, taking control of the people living along the trade routes. At around 1300, Gao had become so prosperous that it attracted the attention of the Mali Empire and its rulers. Gao was subsequently conquered by them and Mali profited from Gao's trade and collected taxes from its kings until about the 1430s. Troubles in the Mali homelands made it impossible to maintain control of Gao.[8] Ibn Battuta visited Gao in 1353 when the town was a part of the Mali Empire. He arrived by boat from Timbuktu on his return journey from visiting the capital of the empire:
Then I travelled to the town of Kawkaw, which is a great town on the Nīl [Niger], one of the finest, biggest, and most fertile cities of the Sūdān. There is much rice there, and milk, and chickens, and fish, and the cucumber, which has no like. Its people conduct their buying and selling with cowries, like the people of Mālī.[9]
Imperial Songhai[edit]
Following the death of Mansa Sulayman in 1360, disputes over the succession weakened the Mali Empire. Furthermore, the ruinous reign of Mari Djata II left the empire in bad financial shape, but the empire itself passed intact to Musa II. However, real power in the empire was in the hands of Mari Djata, Musa's kankoro-sigui. He put down a Tuareg rebellion in Takedda and attempted to quell the Songhai rebellion in Gao. While he was successful in Takedda, he did not manage to re-subjugate Gao, and so the Songhai effectively retained their independence.[10] During his reign, Sonni Ali would be the one to expand the small kingdom of Gao into an enormous empire.[11]
Sonni Ali[edit]
Further information: Sonni Ali
Sonni Ali was the first king of the Songhai Empire and the 15th ruler of the Sonni dynasty. He worked his hardest to get the Songhai empire out of its rocky start. The Muslim leaders of Timbuktu asked him to drive out the invaders. Once Sunni Ali drove them out, he took this chance and took over Timbuktu. Soon, he had almost all the trading cities along the Niger River.[citation needed]
Imperial Songhai[edit]
In the decades following the death of, disputes over succession weakened the Mali Empire, and in the 1430s Songhai, previously a Mali dependency, gained independence under the Sonni Dynasty. Around thirty years later Sonni Sulayman Dama attacked Mema, the Mali province west of Timbuktu, paving the way for his successor, Sonni Ali, to turn his country into one of the greatest empires Saharan Africa has ever seen.[12]
Sonni Ali[edit]
Sonni Ali reigned from 1464 to 1492, after the death of Sulayman Dama. Like Songhai kings before him, Ali was a Muslim. In the late 1460s, he conquered many of the Songhai's neighboring states, including what remained of the Mali Empire. Sonni Ali was considered the empire's most formidable military strategist and conqueror. Under his rule Songhai reached a size of over 1,400,000 square kilometers.[citation needed]
During his campaigns for expansion, Ali conquered many lands, repelling attacks from the Mossi to the south and overcoming the Dogon people to the north. He annexed Timbuktu in 1468, after Islamic leaders of the town requested his assistance in overthrowing marauding Tuaregs who had taken the city following the decline of Mali.[13] However, Ali met stark resistance after setting his eyes on the wealthy and renowned trading town of Djenné (also known as Jenne). After a persistent seven-year siege, he was able to forcefully incorporate it into his vast empire in 1473, but only after having starved its citizens into surrender.
The invasion of Sonni Ali and his forces caused harm to the city of Timbuktu, and he was described as an intolerant tyrant in many African accounts. According to the Cambridge History of Africa the Islamic historian Al-Sa'df expresses this sentiment in describing his incursion on Timbuktu:
Sunni Ali entered Timbuktu, committed gross iniquity, burned and destroyed the town, and brutally tortured many people there. When Akilu heard of the coming of Sonni Ali, he brought a thousand camels to carry the fuqaha of Sankore and went with them to Walata..... The Godless tyrant was engaged in slaughtering those who remained in Timbuktu and humiliated them.[14]
Manuscripts of mathematics and astronomy found in Timbuktu.
Sonni Ali conducted a repressive policy against the scholars of Timbuktu, especially those of the Sankore region who were associated with the Tuareg. With his control of critical trade routes and cities such as Timbuktu, Sonni Ali brought great wealth to the Songhai Empire, which at its height would surpass the wealth of Mali.[15]
In oral tradition, Sonni Ali is often known as a powerful politician and great military commander. Whatever the case may have been, his legend consists of him being a fearless conqueror who united a great empire, sparking a legacy that is still intact today. Under his reign Djenné and Timbuktu became great centers of learning.[citation needed]
Askia the Great[edit]
Tomb of Askia
After taking the throne Muhammad is known as Askia the Great, even though he had no real right to be the king. Not only was he not in the royal family blood line, he did not hold the sacred symbols which entitled one to become a ruler. Furthermore, he was most likely a descendant of Soninke lineage rather than Songhai, which means that by Songhai standards his family background would have not allowed him to be King. But Askia managed to bypass that law and take the throne.[citation needed]
He organized the territories that Sonni Ali had previously conquered and extended his power as far to the south and east. He was not as tactful as Ali in the means of the military, but he did find success in alliances. Because of these alliances he was able to capture and conquer more vastly. Unlike Ali, however, he was a devout Muslim. Askia opened religious schools, constructed mosques, and opened up his court to scholars and poets from throughout the Muslim world. He sent his children to an Islamic School and enforced Islamic practices. Yet he was tolerant of other religions and did not force Islam on his people.[citation needed]
Like Mansa Musa, Askia also completed one of the five Pillars of Islam by taking a hajj to Mecca, and, also like the former, went with an overwhelming amount of gold. He donated some to charity and used the rest for lavish gifts to impress the people of Mecca with the wealth of the Songhai. Islam was so important to him that, upon his return, he recruited Muslim scholars from Egypt and Morocco to teach at the Sankore Mosque in Timbuktu as well as setting up many other learning centers throughout his empire. Among his great accomplishments was an interest in astronomical knowledge which led to a flourishing of astronomers and observatories in the capital.[16]
While not as renowned as his predecessor for his military tactics, he initiated many campaigns, notably declaring Jihad against the neighboring Mossi. Even after subduing them he did not force them to convert to Islam. His army consisted of war canoes, expert cavalry, protective armor, iron tipped weapons, and an organized militia.[citation needed]
Not only was he a patron of Islam, he also was gifted in administration and encouraging trade. He centralized the administration of the empire and established an efficient bureaucracy which was responsible for, among other things, tax collection and the administration of justice. He also demanded that canals be built in order to enhance agriculture, which would eventually increase trade. More important than anything he did for trade was the introduction of weights and measures and the appointment of an inspector for each of Songhai's important trading centers.[citation needed]During his reign Islam became more widely entrenched, trans-Saharan trade flourished, and the Saharan salt mines of Taghaza were brought within the boundaries of the empire. Unfortunately, as Askia the Great grew older, his power declined. In 1528 his sons revolted against him and declared Musa, one of Askia's many sons, as king. Following Musa's overthrow in 1531, Songhai's empire went into decline. Following multiple attempts at governing the Empire by Askia's sons and grandsons there was little hope for a return to the power it once held. Between the political chaos and multiple civil wars within the empire, it came as a surprise when Morocco invaded Songhai unexpectedly. The main reason for the Moroccan invasion of Songhai was to seize control of and revive the trans-Saharan trade in salt and gold. The Songhai military, during Askia's reign, consisted of full-time soldiers, but the king never modernized his army. The Empire fell to the Moroccans and their firearms in 1591.[citation needed]
Culture[edit]
At its peak, the Songhai city of Timbuktu became a thriving cultural and commercial center. Arab, Italian, and Jewish merchants all gathered for trade. A revival of Islamic scholarship also took place at the university in Timbuktu[citation needed]. However, Timbuktu was but one of a myriad of cities throughout the empire. By 1500, the Songhai Empire covered over 1.4 million square kilometers.[2][17]
Economy[edit]
Economic trade existed throughout the Empire, due to the standing army stationed in the provinces throughout the empire. Central to the regional economy were independent gold fields. The Julla (merchants) would form partnerships, and the state would protect these merchants and the port cities of the Niger. It was a very strong trading kingdom, known for it's production of practical crafts as well as religious artifacts.[citation needed]
Trade routes of the Western Sahara c. 1000-1500. Goldfields are indicated by light brown shading.
The Songhai economy was based on a clan system. The clan a person belonged to ultimately decided one's occupation. The most common were metalworkers, fishermen, and carpenters. Lower caste participants consisted of mostly non-farm working immigrants, who at times were provided special privileges and held high positions in society. At the top were noblemen and direct descendants of the original Songhai people, followed by freemen and traders. At the bottom were war captives and European slaves obligated to labor, especially in farming. James Olson describes the labor system as resembling modern day unions, with the Empire possessing craft guilds that consisted of various mechanics and artisans.[18]
Criminal justice[edit]
Criminal justice in Songhai was based mainly, if not entirely, on Islamic principles, especially during the rule of Askia Muhammad. The local qadis were in addition to this, with their responsibility being to maintain order by following Sharia law under Islamic domination, according to the Qur'an. An additional qadi was noted as a necessity in order to settle minor disputes between immigrant merchants. Kings usually did not judge a defendant; however, under special circumstances, such as acts of treason, they felt an obligation to do so and thus exert their authority. Results of a trial were announced by the "town crier" and punishment for most trivial crimes usually consisted of confiscation of merchandise or even imprisonment, since various prisons existed throughout the Empire.[19]
Qadis worked at the local level and were positioned in important trading towns, such as Timbuktu and Djenné. The Qadi was appointed by the king and dealt with common-law misdemeanors according to Sharia law. The Qadi also had the power to grant a pardon or offer refuge. The Assara-munidios, or "enforcers" worked along the lines of a police commissioner whose sole duty was to execute sentencing. Jurists were mainly composed of those representing the academic community; professors were often noted as taking administrative positions within the Empire and many aspired to be qadis.[20]
Government[edit]
Upper classes in society converted to Islam while lower classes often continued to follow traditional religions. Sermons emphasized obedience to the king. Timbuktu was the educational capital. Sonni Ali established a system of government under the royal court, later to be expanded by Askia Muhammad, which appointed governors and mayors to preside over local tributary states, situated around the Niger valley. Local chiefs were still granted authority over their respective domains as long as they did not undermine Songhai policy.[21]
Tax was imposed onto peripheral chiefdoms and provinces to ensure the dominance of Songhai, and in return these provinces were given almost complete autonomy. Songhai rulers only intervened in the affairs of these neighboring states when a situation became volatile, usually an isolated incident. Each town was represented by government officials, holding positions and responsibilities similar to today's central bureaucrats.[citation needed]
Under Askia Muhammad, the Empire saw increased centralization. He encouraged learning in Timbuktu by rewarding its professors with larger pensions as an incentive. He also established an order of precedence and protocol and was noted as a noble man who gave back generously to the poor. Under his policies, Muhammad brought much stability to Songhai and great attestations of this noted organization are still preserved in the works of Maghrebin writers such as Leo Africanus, among others.[citation needed]
Decline[edit]
Further information: Saadi dynasty
West Africa after the Moroccan invasion.
Following the death of Emperor Askia Daoud, a civil war of succession weakened the Empire, leading Sultan Ahmad I al-Mansur of the Saadi Dynasty of Morocco to dispatch an invasion force (years earlier, armies from Portugal had attacked Morocco, and failed miserably, but the Moroccan coffers were on the verge of economic depletion and bankruptcy, as they needed to pay for the defenses used to hold off the siege) under the eunuch Judar Pasha. Judar Pasha was a Spaniard by birth, but had been captured as an infant and educated at the Saadi court. After a march across the Sahara desert, Judar's forces captured, plundered, and razed the salt mines at Taghaza and moved on to Gao. When Emperor Askia Ishaq II (r. 1588–1591) met Judar at the 1591 Battle of Tondibi, Songhai forces, despite vastly superior numbers, were routed by a cattle stampede triggered by the Saadi's gunpowder weapons.[22] Judar proceeded to sack Gao, Timbuktu and Djenné, destroying the Songhai as a regional power. Governing so vast an empire proved too much for the Saadi Dynasty, however, and they soon relinquished control of the region, letting it splinter into dozens of smaller kingdoms. The Songhai people themselves established the Dendi Kingdom.[citation needed]
See also[edit]
Za Dynasty
Sonni Dynasty
Askiya Dynasty
Saadi Dynasty
Mali Empire
Dendi Kingdom
Songhai languages
References[edit]
Citations[edit]
Jump up ^ Bethwell A. Ogot, Africa from the Sixteenth to the Eighteenth Century, (UNESCO Publishing, 2000), 303.
^ Jump up to: a b hunwick 2003, pp. xlix.
Jump up ^ Taagepera 1979, pp. 497.
Jump up ^ Empires of Medieval West Africa: Ghana, Mali, and Songhay | David C. Conrad | Page 49
Jump up ^ Empires of Medieval West Africa: Ghana, Mali, and Songhay | David C. Conrad | Page 49–50
Jump up ^ Timbuktu and the Songhay Empire: Al-Sadi's Tarikh al-Sudan down to 1613 and other contemporary documents | John Hunwick | Page 35 (xxxv)
Jump up ^ Timbuktu and the Songhay Empire: Al-Sadi's Tarikh al-Sudan down to 1613 and other contemporary documents | John Hunwick | Page 36 (xxxvi)
Jump up ^ Empires of Medieval West Africa: Ghana, Mali, and Songhay | David C. Conrad | Page 50–51
Jump up ^ Levtzion & Hopkins 2000, p. 300.
Jump up ^ Stride, G.T & C. Ifeka: "Peoples and Empires of West Africa: West Africa in History 1000–1800". Nelson, 1971
Jump up ^ "Sunni Ali." Encyclopedia of World Biography. 2004. Encyclopedia.com. 27 Dec. 2014 | Chapter: Sonni Ali
Jump up ^ "Empires of Medieval West Africa". google.com.
Jump up ^ Sonni ʿAlī.(2007). Encyclopædia Britannica. Ultimate Reference Suite. Chicago: Encyclopædia Britannica.
Jump up ^ The Cambridge History of Africa, Vol 5: University Press, 1977, pp 421
Jump up ^ Daniel, McCall; Norman, Bennett (1971). "Aspects of West African Islam". Boston University Library. pp. 42–45.
Jump up ^ "Medieval Islamic Civilization: L-Z, index". google.com.
Jump up ^ Malio 1990.
Jump up ^ Olson, James Stuart. The Ethnic Dimension in American History. New York: St. Martin's Press, Inc., 1979
Jump up ^ Lady Lugard 1997, pp. 199–200.
Jump up ^ Dalgleish 2005.
Jump up ^ Iliffe 2007, pp. 72.
Jump up ^ http://www.historyfiles.co.uk/KingListsAfrica/AfricaNiger.htm History Files
Sources[edit]
Dalgleish, David (April 2005). "Pre-Colonial Criminal Justice In West Africa: Eurocentric Thought Versus Africentric Evidence." (PDF). African Journal of Criminology and Justice Studies. 1 (1). Retrieved 2011-06-26.
Haskins, James; Benson, Kathleen; Cooper, Floyd (1998). African Beginnings. New York City: HarperCollins. pp. 48 Pages. ISBN 0-688-10256-5.
Iliffe, John (2007). Africans: the history of a continent. Cambridge University Press. ISBN 0-521-68297-5.
Hunwick, John (1988). Timbuktu & the Songhay Empire: Al-Sa'dis Ta`rikh al-sudan down to 1613 and other Contemporary Documents. Leiden: BRILL. pp. 480 pages. ISBN 90-04-12822-0.
Lady Lugard, Flora Louisa Shaw (1997). "Songhay Under Askia the Great". A tropical dependency: an outline of the ancient history of the western Sudan with an account of the modern settlement of northern Nigeria / [Flora S. Lugard]. Black Classic Press. ISBN 0-933121-92-X.
Malio, Thomas A. Hale. by The epic of Askia Mohammed / recounted by Nouhou (1990). Scribe, griot, and novelist : narrative interpreters of the Songhay Empire. Gainesville: University of Florida Press. ISBN 0-8130-0981-2.
Taagepera, Rein (1979). Social Science History, Vol. 3, No. 3/4 "Size and Duration of Empires: Growth-Decline Curves, 600 B.C. to 600 A.D.". Durham: Duke University Press.
Further reading[edit]
Isichei, Elizabeth. A History of African Societies to 1870. Cambridge: Cambridge University Press, 1997. Print.
Shillington, Kevin. History of Africa . 2nd . NY: Macmillan, 2005. Print.
Cissoko, S. M., Timbouctou et l'empire songhay, Paris 1975.
Lange, D., Ancient Kingdoms of West Africa, Dettelbach 2004 (the book has a chapter titled "The Mande factor in Gao history", pp. 409–544).
External links[edit]
African Kingdoms has a section about the Songhai Empire
The Story of Africa: Songhay — BBC World Service
Askiyah's Questions and al-Maghili's Answers is an essay about the rule of the Songhai Empire from the 15th century. (in English) (in Arabic)
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