Respond to these rapid questions in our Se7en quiz and we will tell you which Se7en character you are. Play it now.
In the metropolis, it rains nearly all the time. The seasoned investigator, Somerset, is dressed in a hat and raincoat. The young person who was recently relocated to the area, Mills, strolls bareheaded through the pouring rain as if he will live eternally. They look into the death of a fat guy they discover dead, face-down in a bowl of pasta, on their first day of working together. Returning to the scene, their flashlights’ beams scan the filthy flat, highlighting a shelf that is stacked high with cans of Campbell’s Tomato Sauce. That much tomato sauce is not even purchased by obese men.
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This follows the same format as an Agatha Christie mystery. However, “Seven” is set in the lives of two officers, one who believes he has seen it all and the other who is unaware of what he is about to witness, rather than the affluent world of country house murders. Additionally, the movie is not about the hunt for the murderer because he confesses with 30 minutes left to go. It’s more of a character study in which the younger man goes on to become a student of depravity and the elder man becomes an expert on it. The initial ending was deemed too horrific by preview audiences, so Hemingway’s upbeat quote was added as a voice-over. However, the original conclusion is still present, and the quotation reads more as a depressing joke. When the movie is over, Freeman should say, “See you around.” The Hemingway quote is only a tiny solace in light of the devastating conclusion.
The mystery of Somerset’s character is at the center of the movie, and Morgan Freeman gives one of his finest performances in it. He naturally exudes power, and I don’t remember him ever portraying a weak character. Here, he is familiar with all the lessons that a police officer might acquire from years spent in one of the city’s worst neighborhoods. In what appears to be a rented apartment with bookcases on the walls, he resides alone. He uses a metronome to put himself to slumber. Even though he came near once, he never got married. He is a lonely guy who approaches life with a detached resignation.
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He does something that very few people would do when faced with the Seven Deadly Sins: he visits the library. There, he studies the Canterbury Tales, Milton’s Paradise Lost, and Dante’s Inferno. It’s not so much that he reads them as it is that he makes references to them for the audience. Fincher shows snippets of Gustav Dore’s illustrations for Dante, which include the well-known image of a woman with spider legs. It works well in a horror movie to introduce unsettling elements from literature as atmosphere. Mills, who appears to be learning about the seven fatal sins for the first time, is addressed by Somerset, who comes off as intelligent.
Similar methods were used by Jonathan Demme in “The Silence of the Lambs” and William Friedkin in “The Exorcist” in this case. The use of ominous mythology and symbolism elevates what might otherwise be a typical police movie. The movie “Seven” doesn’t really have a lot of depth or profundity, but it gives the impression that it does. Nearly all major thrillers aim to entertain first; this one wants to fascinate and frighten. Detective Somerset gives the appearance of scholarship in order to give the killer’s apparent moral claims weight and importance. It’s true that Somerset strikes gold when she discovers that the murderer has a library card, but considering this particular killer’s history, you have to assume that he didn’t get his ideas from the library and only checked out those books to trick the authorities.
Se7en Quiz
The partners’ five murder investigations offer diversity. In one instance, the murders were planned and carried out with obvious elaborate care—at least a year in preparation. However, his plan for the film’s climactic scene must have been made up lately. “Seven” mercilessly draws us into its horrors, some of which are made more potent by being only briefly glimpsed. We can’t be certain of the murdering techniques until the police talk about them, even though a photograph of the contents of a plastic bag taken after an autopsy hardly needs any more justification. Fincher gives us just enough to be repulsed before cutting away.
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The murderer clearly means for his elaborate killings to serve as a moral statement. Once we get to know him, he says as much. He insists that his crimes will be remembered eternally even after being told that they will soon be forgotten in the daily rush of cruelty. They are his finest work. How precisely he is making a statement is left unexplained. His actions have resulted in the conviction and execution of his victims, who were probably guilty of their sins. What is the takeaway? Let that serve as a caution to us.
Established fiction patterns are represented by Somerset and Mills. Mills is the outsider, they make an odd couple, and together they represent the veteran and the novice. The performers and Andrew Kevin Walker’s dialogue add finer details and Freeman’s precise, laconic speech to the formulas. One-dimensional or perhaps reserved, Brad Pitt comes across as a hothead who is quick to discount Freeman’s wisdom and experience. His wife Tracy (Gwyneth Paltrow), who we never learn much about, is what adds a human element to the scene. She has excellent judgment when she invites the single Somerset over for dinner, despite the fact that we learn very little about her. It is best to turn the man her husband requires and can learn from into an ally. As we watch the movie, we presume that the Tracy character is just a placeholder for the Protagonist’s Wife, lacking in any significant depth. She is delaying her effect, though. As we watch the movie again, we become more appreciative of how it was put together.
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As I mentioned, the killer surrenders with 30 minutes left, and from that moment on, he takes control of the movie. The identity of the actor was not mentioned in the ads, posters, or opening credits when “Seven” was first published in 1995; you may well know who he is, but I don’t believe I will. This performer has a significant task. He represents evil. Similar to Hannibal Lecter, he needs to be portrayed by a commanding actor who can convey not just villainy but also twisted psychological complexities. Look at his features. Smug. Self-satisfied. Listen to his intonation. Intelligent. Analytical. Note his poise and seeming lack of anxiety. In a sense, the movie relies on him and would falter if the actor didn’t perform well. He refuses.
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After “Alien 3” (1992), “Seven” (1995) was David Fincher’s second picture and was made when he was only 29. There were still movies like “Zodiac” (2007) and “The Social Network” to come. (2010). He favors dark hues and dimly lit interiors in his work and prefers a saturated color palette. This movie is the darkest of all of his. Like Spielberg, he adds a fine, invisible powder to the air in his rooms to make flashlight beams visible, emphasizing the blackness all around. The internal lighting in “Seven” frequently seems weak or nonexistent, but I’m not complaining. In a scene from Murnau’s “Faust” (1926), Satan is seen donning a black cloak that envelops a small hamlet below. This is the impression that Fincher gives off.
For more personality quizzes check this: Fight Club Quiz.
