47) Se7en
Director: David Fincher
Year: 1995
Plot Summary: A deranged serial-killer chooses seven victims who represent egregious examples of transgressions of each of the Seven Deadly Sins. He then views himself as akin to the Sword of God, handing out horrific punishment to these sinners. Two cops, an experienced veteran of the streets who is about to retire and the ambitious young homicide detective hired to replace him, team up to capture the perpetrator of these gruesome killings. Unfortunately, they too become ensnared in his diabolical plan.
Se7en is an infuriating movie. Not in the way that the pretentious Inland Empire or The Science Of Sleep is, but in the sense that it is both breathtaking and disappointing at the same time. While it's a fantastic movie, the infuriating thing about Se7en is that it could have been something spectacular.
Before I go onto that though, it's important to mention just how great the concept of the movie is and how Fincher's style perfectly captures the story. It's very fast paced all the way through and, despite it's long running length, you'll wonder where the time went. Moreover, his brilliant use of colour, lighting, etc. helps to give Se7en an eerie, nightmarish, chilling, grimy atmosphere that complements the narrative spectacularly. It's not got the scope or the ambition of his later work, but it really shows just how talented he is as a director.
Moreover, the use of contrast between the young, naive Mills and the old, cynical Somerset, who are brilliantly captured by Brad Pitt and Morgan Freeman, is something that has always blown me away with Se7en. This contrast is enforced by how Somerset wants to escape from the hellish urban city in which the entire film is set to the countryside. Mills, however, does quite the opposite. Moreover, the contrast of the characters is brilliantly symbolised by the peaceful metronome in Somerset's apartment that helps him switch off to the noise of the city which has corrupted his innocence. It shows that he is used to this place and the evil that lives there. Mills, on the other hand, lives in an apartment right beneath a subway line almost foreshadowing that his naivety about evil - he lives under the impression that everyone who murders like the villain in Se7en is insane, for example - is about to be challenged.
It all sounds brilliant, right? Well, it should be, but like I said... the infuriating Se7en is that it could have been something spectacular, yet it's only something great.
While Andrew Kevin Walker has written a unique and amazing neo-noir narrative which is snappy, has great themes, an impressive structure, etc. his screenplay is let down by the terrible TV soap opera like dialogue. For example, the aforementioned moments in which Mills describes the killer as insane are vital to both his character and the whole idea of Se7en, but surely, Walker could have thought up better lines than "Right now he's probably dancing around in his grandma's panties rubbing peanut butter on himself" and the mocking impression of "The voices made me do it, my dog made me do it, Jodie Foster made me do it!" It's as cringeworthy as something you'd hear in an episode of Miami Vice.
Moreover, while, at times, the characters complement the narrative brilliantly, there are equally as many occasions when they slide into cliche. The way they speak, the whole good cop/bad cop routine and the conventional "why did you become a cop?" and "have you pulled your gun on anyone?" drama finds its way unnecessarily into what is otherwise a daring, edgy thriller that excels everything you'd expect in the police genre.
Lastly, Se7en is almost completely ruined with the far too predictable ending. Sure, it works with what the film-makers are trying to achieve, but because you've guessed it minutes before it happens, you are spared the gut-punching effect it should have.
By no means is it a bad movie - for a police story it's one of the best you'll find from this generation of cinema - but with a little bit of work, this could have been a masterpiece. One thing is for certain though, if there's one person to thank for this brilliant piece of work it's David Fincher because Se7en wouldn't have been this good in anyone else's hands.
4/5
5 comments:
Bring it on, Moulton! Do your worst! :P I actually took 3 pages of notes on this film in preparation for this debate, which is the most i've done so far. :P
nah cba
(I kid, I'll get right to it!)
I'm gonna sloppily come up with a few points that make the film unique, etc. I'd post this 100 word review I did for college work, but I might get ironically in trouble for plaigurism.
- The existentialism is so poetic, with its gothic nature and cynical presentation, in the sense of justice it has - as Somerset (note: searches for the 'why') and Mills (note: searches for the 'how') are otherwise acting counter-productive on the pursuit for John Doe instead of arresting the 'sinners'. You know how it's carefully crafted to make the audience insecure just as they are comfortable, so I need not describe the technicals.
- If they ever had a conversation, Somerset would thoroughly agree with John Doe. Considering this exchange:
"William Somerset: [to Tracy] Anyone who spends a significant amount of time with me finds me disagreeable. Just ask your husband.
David Mills: Very true. Very, very true."
It's worthy of note.
- Why is Tracy significant? She introduces David and William. Before their dinner, they knew each other as Detective Mills and Detective Somerset. Without her, would they feel the compassion to not only use this opportunity to take down John Doe, but do it together? I don't know, but considering Somerset's eagerness to leave, I doubt it.
- I like the dialogue. It's not bad, it's not great. Just good. Not distracting. Maybe that's because of strong direction.
Actually, there is one exchange that always bothers me. I'd quote it if IMDb had it, but it's when the doctor is telling them about the gluttony victim and says a bunch of jargon but Mills says he doesn't understand so the doctor says some more jargon. Yeah. That's it though, I like the rest. The cliche's work for me.
Anyway, not totally satisfied with that rebuttle but I can definitely come up with more for debate when you start your whining. Hit me.
"Serpico's gotta go."
Only just seen this comment! Sorry for the 4 day late reply. :(
Some very interesting points in there which only add to how good I think the film could have been. Like I said, everything about it should make Se7en a masterpiece but I think it very often slides into a conventional police drama. I guess it's a matter of taste if you can look beyond the cliches. Unfortunately, I'm far too picky. :P
I loved your little analysis on how one searches for the 'how' while the other searches for the 'why'. That was right in front of me the whole time I can't believe I missed that! A very nice little touch which adds to the existentialism. :)
Buuuuuut... It'll always just be a movie I'll tell people is "great" rather than one I'd rave about.
Haha, I really disagree that it's conventional but it's definitely the epitome of the police drama genre.
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