The Best of David Fincher — Vol 2.
Second only in my affections for the films of David Fincher by his incredible achievement with Fight Club in 1999, Se7en is currently 19th on the “chart” at www.imdb.com of their 250 films of all time and enjoys the rather illustrious company of The Matrix, Goodfellas and One Flew Over The Cuckoos Nest immediately before it, and Seven Samurai, It’s a Wonderful Life and The Silence of the Lambs immediately behind it.
The defence rests your Honour.
I hope you enjoy.
David Fincher — 22 Years in Film
Alien 3, Se7en, The Game, Fight Club, Panic Room, Zodiac, Benjamin Button, Social Network, Girl With The Dragon Tattoo…medium.com
“What’s in the box?”
Tired, weary and soon to retire “Detective Somerset” (Morgan Freeman in yet another stellar performance) and “Detective Mills” (Brad Pitt at near perfection best) fresh faced and anxious to please, are thrown together as it quickly becomes evident that a serial killer is on the loose and literally following the seven deadly sins as a means of inspiration for his killings. Brilliantly written by Andrew Kevin Walker, the film is accompanied by a twisting yet often subtle musical score from Howard Shore and as described briefly below is continually bathed in perpetual rain and a feeling of damp and dark pervades which is brilliantly lit by Director of Cinematography Darius Khonddji. These are all triumphs of the film for me, as are the constant “inserts” such as varying pieces of eclectic music from “Suite Number 3 in D Major” by Johann Sebastian Bach (as Somerset peruses a local library) through to “Trouble Man” by Marvin Gaye.
Despite following a day to day narrative (the day’s of the week are displayed on screen as we go), the film never settles and never pursues one single narrative strand. Yet with Fincher’s brilliance (can you believe he reluctantly helmed the film?), he brings the very best out of his two central performers.
In addition to these stellar performances from Morgan Freeman and Brad Pitt, there are two further excellent performances (noted below) but two additional supporting roles are well played by Leland Orser as “Crazed Man in Massage Parlour” and a hilarious star turn from R Lee Ermey as “Police Captain”. I note these roles specifically as the crazed man role perfectly portrays the havoc and devastation caused by the killer throughout his spree and R Lee Ermey’s comedic turn as the harassed and under pressure Police Captain, whilst a little dated and stereotypical, lends the film a light relief, especially his subtle “This isn’t even my desk” response to a telephone call. I also note this specifically as despite the dark and brooding air of intensity that surrounds the film, there is a brilliantly blended air of the surreal, a lightness of touch and dark comedy intertwined throughout.
Unusually, the film begins with a four minute preamble into the two main characters, before an unseen loud clap of thunder brings this to a halt and introduces the opening credits of numerous quick and brooding with menace inter cut shots. From the outset, you are introduced into a grimy, dark and dank world which is constantly raining. Many scenes are often illuminated only by a Detective’s torchlight, yet the cinematography captures that brooding menace perfectly, as well as the set decorations of each scene. Each shot is meticulous, as is the editing, which is sharp, often jumping quickly from Mills to Somerset, Somerset to Mills, and back again. This moves the film along at a pace with seven murders, settings and locations, the editing especially immerses you in the film as you try to anticipate the Detective’s next move or thinking.
The killings themselves are never portrayed nor are they gruesomely detailed, save a few fleeting shots as they are quickly cut away or via police evidence photographs, yet the vivid detail is there. The film allows you to compassionately view these all as an outsider, yet with all the evidence at hand, and still does not glorify in the violence or the resultant death being explored.
The third main character albeit in virtually a cameo, though vitally important role, is Kevin Spacey as “John Doe”. Hidden and indistinguishable, he is occasionally “seen” at the beginning of Act 2 and eerily similar to that of the fleeting jump cut inserts we see of Tyler Durden in Fight Club, but he finally announces himself, and triumphantly so, at the end of Act 2 with his blood soaked surrender and “Detective” (almost a whisper) “Detective” (louder) to “DETECTIVE — you’re looking for me…..”
Gwyneth Paltrow is underused as Mills wife “Tracy”, however this is almost certainly deliberate, as the film centre’s on the relationship between Mills and Somerset. From antipathy, to colleagues, to grudging friends, to determined collaborators. Again with quick editing from one character to the other, we see this develop amongst the rich tapestry of this amazing film. Despite his reticence to direct, this is a triumph of a film from David Fincher, but ably assisted in this triumph by his Editor, Richard Francis-Bruce and Cinematographer Darius Khondji who deserve great credit for producing together one of the greatest films of all time. I realise this is a lengthening list, but Se7en deserves its place amongst the very best of all time. 19 years since it’s initial release, this film has not aged a single frame and remains a constant joy to re-watch, time and time again.
Thanks for reading. Just for larks as always, and always a human reaction rather than spoilers galore. My three most recently published film articles are linked below or there’s well over 100 blog articles (with 300+ individual film reviews) within my archives from which to choose:
“You Were Never Really Here” (2017)
“It is a beautiful day”.medium.com
“Nebraska” (2013)
“You’re just like your father. Stubborn as a mule!”.medium.com