Review: Se7en

Morgan Freeman is NYC police detective Somerset, one week from retirement and extremely jaded. For this last week he is partnered with brash, younger detective Mills (Brad Pitt), whose career is on the rise. They investigate the murder of an obese man force-fed until his stomach exploded. After another body is soon found, Det. Somerset realises the crimes are connected, as the words ‘Greed’ and ‘Gluttony’ are found at both scenes. It would appear a serial killer is at work, using the Seven Deadly Sins as inspiration, and there are obviously five more morally-inspired crimes set to be committed. Gwyneth Paltrow plays Det. Mills’ sweet-natured wife Tracy, R. Lee Ermey plays the police captain, Richard Roundtree plays the city mayor, John C. McGinley plays SWAT team leader ‘California’, Richard Schiff plays a slimeball lawyer, and both a frightened Leland Orser and slimy Michael Massee turn up at the scene of one of the ‘Lust’ murder.

 

Brilliant, gloomy modern day killer-thriller/detective movie from 1995 directed by David Fincher (“Alien³”- It’s a good film damnit!, “Fight Club”, “Panic Room”, “The Social Network”, “Gone Girl”). Stunningly disgusting production design, wonderfully oppressive, rainy atmosphere, but most importantly a terrific screenplay by Andrew Kevin Walker (“Hideaway”, “Sleepy Hollow”). Walker gives us well-matched characters played by perfectly cast lead actors, and a fascinating, dark story with one helluva sting in its tail. I’m fascinated by serial killer cases in real-life. Not so much the gory details, more the whodunit aspect and all the little peculiarities of the cases. This film definitely taps into that side of me. Morgan Freeman and Brad Pitt are immediately perfect here, with Freeman the sage, observant, literate and intelligent veteran detective, and Pitt the cocky, abrasive, impulsive, and not well-read younger detective. Crucially, though, Pitt isn’t obnoxious enough that he loses your sympathy, nor does Freeman come across like a self-satisfied know-it-all. In particular, Pitt’s slightly douchy, talkative character could’ve gone horribly wrong and become either an unlikeable dickhead or an implausible moron. Pitt navigates the waters perfectly. It’s my favourite of his performances to date, just ahead of “The Assassination of Jesse James” and “Kalifornia”. The difference between the two characters is perfectly conveyed: Freeman says only what is necessary, Pitt is an oxygen thief. The progression of their relationship is excellently done, too.

 

The supporting cast is excellent, too, even if only two of them really get enough screen time to resonate. This is easily Gwyneth Paltrow’s best performance to date, she’s genuinely likeable here, which not only helps in making her sympathetic to the audience, but also humanising Pitt’s character as well. It’s amazing that the Gwyneth Paltrow in this who is warm and likeable is the same Gwyneth who can be cold in other films, annoying on the Oscar stage stealing Cate Blanchett’s award, and well…Goop. Need I say more? But she is the only source of warmth and sunlight in this film, and it’s very, very much needed. Without her, this film might feel like stepping too far into the abyss, never to return. Speaking of light, you can’t help but laugh at the uber-macho John C. McGinley and his uber-macho SWAT guys. They’re hilariously dumb jock-types who add a little bit of (perhaps ill-fitting in tone) levity in one memorably scary-funny scene. The only other light moments you’ll get here are Pitt’s ignorance about “Of Human Bondage” and The Marquis de Sade. His pronunciation of the latter is very funny.

 

The other memorable supporting performance here is for the actor playing the killer. Since the film is 20 years old (and it’s not really a film where the audience is invited to guess the culprit I suppose), I could probably name him, but I’ll resist just to be safe. All I’ll say is that with this film and another similar performance the same year, he would soon become the go-to guy for this sort of intelligent, glib evil stuff. The actor can display dispassionate arrogance, malevolence, and sarcasm better than anyone. Here as the high-minded, literate serial killer he’s perfectly disdainful, and sickly amused with himself like the cat that swallowed the canary. But then, even Det. Somerset has a jaded view of the city and society. He criticises the wave of apathy swept across the city as his reason for being glad to be retiring, yet also acknowledges that he no longer has hope for anything better, somewhat apathetic himself.

 

The film’s look is fantastic, with impressive, almost Gothic architecture showing off a very ‘Gotham’ New York (The city isn’t named in the film, but it’s obvious, and Walker apparently based the film partly on his experiences in New York) without quite being Batman’s ‘Gotham’. It’s just realistic enough and just artistic enough to work in this very dark and oppressive thriller where you can almost smell the scum and the muck. It’s really quite visceral, disgustingly visceral. The cinematography by Darius Khondji (“Panic Room”, “Magic in the Moonlight”) is truly excellent, lighting and shot composition are really top-notch. It’s dark without being murky and hard to see, it’s just right, and the rainy look of the film is perfect for such a dark film too. It’s not an action film in the slightest, but Fincher does give us one of the better non-vehicular chases you’re ever likely to see. I will admit that the ‘Lust’ murder is a bit over-the-top (Rob Bottin’s weakest makeup in an otherwise jolly good job by him), but Leland Orser (who seems to turn up in a lot of serial killer films) is affecting, and Michael Massee chillingly dispassionate in their one scene. Getting back to the script, some will see the twist finale coming, but on my first viewing I have to admit I was floored by it. Watching it for maybe the fifth time, I can see some foreshadowing, but only in the moments just prior. It’s a reasonably well-guarded secret. Which ironically leads me to ***** SPOILER TERRITORY ***** It’s actually what John Doe does to Pitt’s character that is the true evil genius here. He plays him like a violin the entire car trip, and the poor guy hasn’t got a clue. It’s a tragic, devastating outcome (though Pitt gives one of the funniest and most-imitated line deliveries in cinematic history- I’m sure you know which one!) that Freeman sees the moment he opens the box but can’t do anything to stop the chain of events Doe has carefully and masterfully put into place. John Doe wins, Pitt is ruined. The End. Fuck. It’s just amazing. ***** END SPOILER *****

 

A model of its type, and it holds up perfectly well 20 years after its initial release. Hell, I think it’s better than the slightly overrated “Silence of the Lambs” even. Direction (Fincher is clearly the best of the music video graduates), writing, production design, and acting are all winners here. It really is that good. It’ll be too dark for some to want to take the journey (Walker would later go a bit too far into the abyss with the whole diseased and seedy side of society thing in the unpleasant “8MM”), but for those willing, it’s pretty fascinating and bleakly powerful stuff. It actually stays with you long afterwards.

 

Rating: A-