Seven (Single Disc Edition)
by David Fincher
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Actor: Brad Pitt, Gwyneth Paltrow, John C. Mcginley, Morgan FreemanDirector: David Fincher
Brand: NLV
Cinematographer: Darius Khondji
Producer: Arnold Kopelson
Producer: Phyllis Carlyle
Producer: Gianni Nunnari
Producer: Dan Kolsrud
Producer: Anne Kopelson
Writer: Andrew Kevin Walker
DVD: Region Code 1
Audio: English (Unknown), Dolby Digital 2.0 Surround; English (Original Language), Dolby Digital 2.0 Surround
Format: AC-3, Anamorphic, Color, Dolby, DTS Surround Sound, DVD, NTSC, Widescreen
Picture Format: 1.85:1
Running Time: 127 minutes
DVD Release Date: 2004-02-03
Audience Rating: R (Restricted)
Model: N6989
Studio: New Line Home Video
DVD Reviews of Seven (Single Disc Edition)
DVD Review: A Consumate Thriller and More
Summary: 4 Stars
Seven is one of the best cinematic thrillers, especially of the last few decades - almost a blueprint of how one should be. Where nearly all of them fail, becoming clichéd, predictable, and implausible, it succeeds. It continuously defies expectations - in a good way -, subtly making us think it is going one way then going another. This quickly becomes clear, as the opening premise seems distinctly hackneyed - a veteran, retiring detective gets a cocky upstart partner for his last case, which turns out to be by far their most difficult. This has been done so many times that it hurts, but this is something different. What could have easily been unbearably banal turns out to be surprisingly and refreshingly interesting, as the relationship develops with unexpected subtlety.
What really makes Seven stand out from all the films with similar premises, though, is the villain - easily the most disturbing cinematic killer since The Silence of the Lambs. His methods and motives are unusual and deeply frightening - painstakingly methodical and sadistic. Even more interestingly, he is deeply, self-righteously, and thus hypocritically religious and plans his mayhem accordingly.
This brings up one of the film's true strengths - Andrew Kevin Walker's script. One of the freshest screenplays in modern film, it continually surprises without being contrived. Walker's work is really quite tight; those looking for plot holes will have an unusually hard time, and any that can be found are minor. The dialogue is also above average. Having the killer base his murders - nay, his whole existence - on the seven deadly sins is a novel and perversely fascinating concept. More importantly, it leads to many theological elements and aspects of religious history throughout all aspects of the movie. One would be very hard-pressed to find a thriller where such weighty issues are so seamlessly integral to the plot. Those unfamiliar with such elements will learn much, especially as the script fortunately never becomes preachy or overly didactic. Even more impressive are the litany of literary references. Nearly every movie seems to throw in a Shakespeare reference or something to seem intelligent, but this is actually well done. There are about as many allusions as a mainstream film can get away with, and in contrast to nearly every movie that tries to do such a thing even with far less ambition, it never seems forced. The allusions are important to the plot and spice up the dialogue while giving viewers some substantial meat to chew between all the suspense.
This raises an important question - just how good is the script? How serious and how ambitious? That Seven currently ranks #27 on the Internet Movie Database's list of the 250 Best Films of All-Time strongly suggests many see far more than just a thriller. It is certainly true that Seven raises numerous important issues, from theological niceties to practical aspects of crime fighting. It also dramatizes many important themes, including modern crime, urban decay, institutional and individual responsibility toward society, apathy vs. activism, youth vs. age, experience vs. emotion, etc. Some weighty philosophical issues are even brought up and, more to the point, we see much about the often vast gap between theory and practice. Seven vividly dramatizes the ticklish problem of applying hard-won wisdom to the modern world's cold reality. Most noteworthy to me is the acidic religious criticism that nearly everyone, including the film's biggest fans, seems to have missed. Seven is a vicious shot at hypocritical religious self-righteousness and does much to expose Christianity, especially its historical bases, as hollow. If the many who have seen this film - especially the many who seem to think it a masterpiece - realized this, the world might have been slightly bettered. Unfortunately, as all too often in such cases, it has not even been ignored but simply gone unseen.
The regrettable situation has undoubtedly arisen because the movie is essentially a thriller; heavier elements work within this framework rather than the reverse. Many go into it expecting a thriller and see just that - and it is quite good on such terms. However, this can easily make them fail to see the weightier elements. Those alive to them will quickly see that, while they move the film above a mere thriller, the genre's inherent limitations keep it from true greatness. There is a sense, then, in which Seven is overrated. It is certainly not one of the thirty greatest films, and I am unable to imagine how it acquired such a status. This is unfortunate, really, because it is very good on its own terms and more than respectable per se; it would truly be a shame if people were disappointed because they expected a masterwork. If the more substantial elements were actually the core and all thriller conventions were dropped, this could truly be a masterpiece. That it limits itself in this way should not necessarily be held against it; Seven is about as good as a film can be that is not trying for true mastery. This may disappoint those looking for the transcendentally great, but the discerning among those who expect only a thriller may well be pleasantly surprised.
The daringly dark ending is the clearest sign of how Seven refuses to limit itself to thriller conventions entirely. An essentially happy conclusion is one of the main thriller conventions, something most viewers want and expect. No matter how many close scrapes protagonists go through, they are supposed to triumph. Seven crushes this cliché with a highly pessimistic ending that is gut-wrenchingly shocking yet inevitable; it refrains from a cheap twist and is certainly without trite sentimentality. It is sad but unsurprising that New Line wanted to change this. Several alternate endings were proposed, all inferior mainly because they made the players act out of character or otherwise introduced implausibility. The cast and crew fought for the original ending and thankfully won; Seven's status as something more than thriller would be highly compromised without it.
Masterpiece or not, several Seven aspects are clearly excellent. The most obvious is the acting. Brad Pitt and Morgan Freeman do a thorough job of portraying the detectives and work well together. Some have questioned the former's job, especially toward the end, but their real problem seems to be with the character. One may not like Mills or his behavior, but this is hardly the fault of Pitt, who is more than adequate. Freeman meanwhile performs with his usual excellence, vividly portraying a character with a lot of depth and even somehow managing to make him very likable. He is almost like an African American Sherlock Holmes. However, Kevin Spacey's as the villain is the true highlight. It is doubtful that anyone else could have pulled off such a brilliant portrayal. His John Doe is fully detestable - twisted, vain, hypocritical, and more - yet we can see the great, if perverse, intellect and talent behind the evil. Spacey pushed to have his name kept from the opening credits, and his late appearance is indeed exhilarating. It was all the more notable given his recent, Oscar-winning role as a villain in The Usual Suspects. That was a rightly proclaimed performance, but this is even better - one of the more astonishing depictions in recent memory. As for Gwyneth Paltrow's small role, I have heard that she was not interested in it and had to be convinced to take it. I can see why; she is simply not believable as a fifth grade teacher and worried wife/expectant mother. It is perhaps not her fault exactly; she is who she is and was wrongly cast. One can understand why Pitt would want his then-girlfriend to play his wife, but a better choice could clearly have been made. However, this inadequate performance in a minor role does little to mar what is otherwise an excellently acted picture.
Director David Fincher does a good job in all areas, particularly cinematography. Seven is very atmospheric without resorting to film noir clichés; the ambiance is so strong that much of what would normally need to be explicated in dialogue can remain unsaid. Fincher keeps the suspense riding high, milking the mystery for drama but not letting it go dry. The film seems to have a slow start, but we soon see this is deliberate and right. The various red herrings are also well-done - effective without being cheap. Finally, the music is commendable and does a good job of setting the mood. It is easy to see why this made Fincher's name as a director.
In summary, Seven is at least worth a rental to those who still have not seen it. As for which edition to buy, the single disc version is truly bare bones. Anyone wanting extras should seek out the various expanded editions, but those who just want a permanent copy will be fine with the single disc, as it does not cost much more than a rental. Whichever route one chooses, the film comes quite highly recommended.
Description of Seven (Single Disc Edition)
A retiring cop and his replacement track a psychotic killer who's using the seven deadly sins as a guide. Starring Brad Pitt, Morgan Freeman and Gwyneth Paltrow.The most viscerally frightening and disturbing homicidal-maniac picture since The Silence of the Lambs, Seven is based on an idea that's both gruesome and ingenious. A serial killer forces each of his victims to die by acting out one of the seven deadly sins. The murder scene is then artfully arranged into a grotesque tableau, a graphic illustration of each mortal vice. From the jittery opening credits to the horrifying (and seemingly inescapable) concluding twist, director David Fincher immerses us in a murky urban twilight where everything seems to be rotting, rusting, or molding; the air is cold and heavy with dread. Morgan Freeman and Brad Pitt are the detectives who skillfully track down the killer--all the while unaware that he has been closing in on them, as well. Gwyneth Paltrow and Kevin Spacey are also featured, but it is director Fincher and the ominous, overwhelmingly oppressive atmosphere of doom that he creates that are the real stars of the film. It's a terrific date movie--for vampires. --Jim Emerson
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