Seven
Director: David Fincher
122 minutes (18) 1997
widescreen 2.35:1
EV DVD Region 2
retail
review by Peter Schilling
Simply the ultimate serial killer drama, David Fincher's Seven (or 'Se7en' as the
publicity wags have it), stars Morgan Freeman and Brad Pitt, as now-traditional mismatched
homicide detectives on the trail of a disturbingly cruel murderer (an outstanding portrayal
by Kevin Spacey) who commits a string of appalling crimes modelled upon the 'seven deadly
sins'.
That's really all you need to know, but certainly isn't the whole of this
puzzling, subtly unsettling and finally shocking story. Fincher loads his downbeat narrative
with literary references and visual motifs, while staging a memorable chase aping Blade
Runner, generating more suspense from logic and mystery (not to mention a sense of
impending doom) than any number of genre horror movies, and for the first time fulfils the
potential for gut wrenching climactic revelation other, earlier, movies of this kind dared
only suggest. There's more threatening atmosphere and edge-of-the-seat tension here than
you'll find in anything served up by the leering Dr Hannibal Lecter (with or without "a
nice chianti").
Repent - or die, horribly! Perhaps the only way to survive in this film's
sinister urban labyrinth is to become as isolated and wearily disillusioned as Somerset
(Freeman, exuding scholarly wisdom), or blithely remote like Mills (Pitt, a mix of pumped-up
vigour and uneasy ambition). Yet, however one might cope with life in a dark city where
victims are ordinary people subject to the harsh enforcement of a moral principle (the
killer's crimes are 'sermons') neither of the diverse cops - divided by generation and race -
has a clue. Concerns for the degree and depths of dilemma in the narrative extend from
characterisation and plot to the physical environment searched for evidence during
investigations of various crime scenes. Every hint and trace purposefully left behind by the
obsessive killer is intricately created, painstakingly elaborate and meticulously placed, yet
barely visible on the screen. The extraordinary amount of detailing here is frequently
surprising but it pays off with some utterly convincing backdrops to the action.
Good does not always triumph over evil, and Seven is one of the
curiously few American thrillers to realise this so perfectly. And, furthermore, it does this
in an emotionally affecting and intellectually daring manner. Seven is a peculiarly
art house Hollywood which addresses themes of inherent darkness within humanity (Lynch's
perverse Blue Velvet is comparable but inferior), while attaining a level of highbrow
sophistication almost unrivalled in a major studio production.
DVD extras: splendid two-disc package! Disc #1 has a re-mastered anamorphic
transfer with the choice of stereo, Dolby 5.1 or DTS sound, and English subtitles - useful
for following the plot while opting for one of the four audio commentaries (each focusing on
a different aspect of the production - stars, story, picture and sound). The first track has
the director with stars Freeman and Pitt, who discuss acting styles and their approaches to
the material. The second, hosted by Richard Dyer (who wrote the BFI chapbook about this film),
charts development of the narrative with Fincher, screenwriter Andrew Kevin Walker, the
film's editor, and New Line studio president. A third commentary brings in designer Arthur
Max and cinematographer Darius Khondji to discuss the sets, camerawork, lighting and colour
with Dyer and Fincher. In the fourth, composer Howard Shore and the film's soundman talk
about the musical score, complexities of aural montage and sound effects. This main disc also
features DVD-ROM content in form of a "printable original screenplay with links to the
movie." The scene finder has 37 chapters.
Supplementary material on disc #2 features title sequence explorer to
review the storyboards, rough version and final cut, with choice of sound format and a couple
of technical commentaries; section on Deleted Scenes & Extended Takes guides us
through editing process (with optional director's commentary) of seven clips: original
opening plus animated storyboards of same, character backstory during a car ride,
screenwriter's cameo as homeless beggar, prelude to SWAT raid, Pride crime scene,
Somerset meets Mrs Mills, Tracy wakes from nap alone; text only cast and crew filmographies
(scratchy, but they do match house style); Notebooks reveals making of fanatical John
Doe's fetishistic handwritten pasted compositions, with creators' commentary; filmed series
of paintings and concept art with commentary by production designer giving insights on
various domestic and municipal sets; extensive photo galleries in four sections (with
commentary) display John Doe's blurry Polaroid snaps, ghastly Sloth pictures, b/w
crime scene flash photography, range of publicity stills making this a hugely impressive
image file adding a whole extra visual dimension to this great film; alternative endings
shows original test version and animated storyboards for un-filmed concept plus optional
director's commentary; theatrical trailer; Seven promo reel; Mastering For Home
Theatre delivers a fascinating demo of hi-tech digital tweaking process applied to
original negative for this superior DVD release that covers audio remix, colour correction,
three scenes from telecine gallery in before & after comparison. All told, there's at least
a good two or three hours worthwhile browsing here!
Peter Schilling
originally published in VideoVista #25 (April 2001)
DOWSE
Guide to the Movies
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compiled by Tony
Lee editor of Pigasus Press
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