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- Автор сценария:
- Эндрю Кевин Уокер
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- Режиссер:
- Дэвид Финчер
В основе картины лежит полицейское расследование серии кровавых убийств, совершенных маньяком. Каждое убийство `наказывает` жертву за определенные смертные грехи. В Библии описано семь таких грехов, и остановить страшную цепь убийств под силу только ветерану нью — йоркской полиции и его энергичному молодому напарнику. Захватывающий сюжет, яркая актерская игра, подчеркнутый натурализм фильма — все это держит зрителя в напряжении вплоть до последнего кадра…
СКАЧАТЬ
SEVEN
INT. OLD HOUSE -- DAY
Sunlight comes through the soot on the windows, more brown than
bright. SOMERSET, 45, stands in one corner of this small,
second-story room. He looks over the ceiling, looks down at the
worn wooden floors, looks at the peeling wallpaper.
He walks to the center of the room, continues his study, taking
his time. He halts, turns to one wall where the current
wallpaper is torn away to reveal flowery wallpaper underneath.
Somerset goes to this wall and runs his finger across one of the
pale, red roses which decorates the older paper. He pushes the
grime away, brings the rose out more clearly.
He reaches into his suit pocket and takes out a switchblade. He
flips the thin, lethal blade free. Working deliberately,
delicately, Somerset cuts a square around the rose, then peels
the square of dry wallpaper away from the wall. He studies it in
his hand.
EXT. OLD HOUSE -- DAY
Somerset stands in front of the old home. He looks out at the
surrounding farms and forests. He ponders something. Birds
sing.
MAN (O.S.)
Is something wrong?
Somerset does not respond, just stares off. The MAN, 34, wears a
real-estate broker's jacket and stands beside a FOR SALE sign in
the muddy lawn.
MAN
Is there something the matter?
Somerset turns to face the man, then looks back at the house.
SOMERSET
No. No... it's just that everything here
seems... so strange.
MAN
Strange? There's nothing strange about
this place. The house'll need a little
fixing up, that's for sure...
SOMERSET
No. I like the house, and this place.
MAN
I was about to say. Cause this place is
about as normal as places get.
Somerset nods, taking a deep breath. He smiles.
SOMERSET
That's what I mean. Strange.
Somerset looks back to the beautiful landscape. The man does not
understand.
INT. AMTRACK TRAIN -- LATER DAY
Somerset is in the window seat, looking out the window of the
speeding train, smoking a cigarette. He is near the back of the
car, away from the few other passengers.
Outside, farms, fields, small homes and lawns rush by. The
panorama is dappled by the rays of the soon to be setting sun.
INT. AMTRACK TRAIN -- LATER DAY
The train is almost full, moving slower. Somerset has his
suitcase on the aisle seat beside him. He holds a hardcover book
unopened on his lap. He still stares out the window, but his
face is tense. The train is passing an ugly, swampy field. The
sun has gone under.
Though it seems impossible it ever could have gotten there, a
car's burnt-out skeleton sits rusting in the bracken.
Ahead, the city waits. The sky is full of smokestacks and huge
industrial cranes.
INT. AMTRACK TRAIN -- LATER DAY
The train is passing urban streets below. Slums and smashed
cars. People stand in groups in the corners. Bleak.
Somerset's suitcase is now on the window seat. Somerset has
moved to the aisle. He is reading his book. He looks up from
the book and rubs his eyes, then looks back to continue reading,
not once looking out the window.
EXT. CITY STREET -- NIGHT
Somerset carries his suitcase outside the train station. The
city demands attention: cars screeching, people yelling, sirens
blaring.
Somerset passes a family of bewildered tourists. A WEIRD MAN has
a hand on the tourist-father's suitcase.
It has become a tugging match with the Weird Man shouting, "I'll
take you to a taxi... I'll take you." Ahead, a group is gathered
on the sidewalk near two ambulances. People clamor to get a look
at a BLOODY BODY which lies on the street.
Policeman try to hold the crowd off. Ambulance attendants
administer aid to the victim, who convulses. Somerset moves by,
ignoring it all. He motions for a cab. One pulls up from the
street's stream of vehicles.
INT. CAB -- NIGHT
Somerset throws his suitcase in and shuts the door behind him.
CAB DRIVER
(about the crowd)
What's the big fuss?
Somerset looks out at the crowd, looks at the driver.
SOMERSET
Why do you care?
CAB DRIVER
(under his breath)
Well, excuse me all to hell.
The driver leans forward, checking it out. The circle of
spectators shifts suddenly. A man has shoved another man and
they're really going at it now. The swing at each other and tear
at each other's clothing. One man's flailing fist connects and
the other man's face is instantly bloodied. The fight grows even
more spastic. Policemen try to stop it.
CAB DRIVER
Crazy fucks.
The driver pulls away and the cab rages down the street.
Somerset watches the parade of neon passing on the avenue. He
slumps back in the seat and closes his eyes.
CAB DRIVER
Where you headed?
Somerset opens his eyes.
SOMERSET
Far away from here.
INT. SOMERSET'S APARTMENT -- NIGHT
The curtains are closed. The SOUNDS of the CITY are here as they
will be everywhere in this story. A CAR ALARM is SOUNDING,
shrill and clear. Somerset's life is packed into moving boxes,
except for some clothing in a closet and hundreds and hundreds of
books on the shelves of one wall. Somerset is lying on the bed,
dressed only in his underwear.
He reaches to the nightstand, to a wooden, pyramidical metronome.
He frees the metronome's weighted swingarm so it moves back and
forth. Swings to the left -- TICK, swings to the right -- TICK.
Tick... tick... tick... measured and steady.
Somerset situates on the bed, closes his eyes. Tick... tick...
tick. The metronome's sound competes with the sound of the car
alarm. Somerset's face tightens as he concentrates on the
metronome. His eyes close tighter. Tick... tick... tick. The
swingarm moves evenly. Somerset's breathing deepens.
Tick... tick... tick. The car alarm seems quieter.
Tick... tick... tick. Somerset continues his concentration. The
metronome's sound seems louder.
Tick... tick... tick. The sound of the car alarm fades, and is
GONE. The metronome is the only sound.
Somerset's face relaxes as he begins to fall asleep. Tick...
tick... tick...
INSERT -- TITLE CARD
SUNDAY
INT. SOMERSET'S APARTMENT -- MORNING
Somerset picks items off a moving box: his keys, wallet,
switchblade, gold homicide badge. Finally, he opens the
hardcover book he had with him on the train. From the pages, he
takes the pale, paper rose.
INT. TENEMENT APARTMENT -- DAY
Somerset stands before a wall which is stained by a star-burst of
blood. A body lies on the floor under a sheet. A sawed-off
shotgun lies not far from the body. The apartment is gloomy.
DETECTIVE TAYLOR, 52, stands on the other side of the room, looks
through a notepad.
TAYLOR
Neighbors heard them screaming at each
other for like two hours. It was nothing
new. But, then they heard the gun go off.
Both barrels.
SOMERSET
Did the wife confess?
TAYLOR
When the patrolman came she was trying
put his head back together. She was crying
too hard to say anything.
Somerset beings walking around the apartment.
SOMERSET
Why always like this? Only after the
fact... this sudden realization, that if
you shoot someone, or stick a knife in
them, that person will cease to exist.
TAYLOR
Crime of passion.
SOMERSET
Yes. Look at all the passion splattered up
on the wall here.
TAYLOR
This is a done deal. All but the
paperwork.
Taylor shifts his weight, impatient. Somerset looks at a
coloring book open on the coffee table. There are crayons beside
it. Somerset picks the book up, flips through the pages.
SOMERSET
Did their son see it happen?
TAYLOR
I don't know.
Taylor closes his notebook, perturbed. Somerset looks at the
pictures of cute, crudely colored animals.
TAYLOR
What kind of fucking question is that
anyway?
Taylor walks over and grabs the coloring book to get his
attention.
TAYLOR
You know, we're all real glad we're getting
rid of you, Somerset. You know that? I
mean, it's always these questions with
you... "Did the kid see it?" Well, who
gives a fuck? Huh?
(points)
He's dead. His wife killed him.
Taylor throws the coloring book back to Somerset and walks.
TAYLOR
Anything else has nothing to do with us.
Taylor leaves, pushing past DETECTIVE DAVID MILLS, 31, who is
just entering. Mills is muscular and handsome. He looks back at
Taylor, then around the apartment, a bit disoriented.
Somerset puts down the coloring book. He stares at the floor,
showing no reaction to Taylor's tantrum.
MILLS
Uh, Lieutenant Somerset?
Somerset turns to see Mills.
EXT. CITY STREET -- DAY
A body bag is carried through a crowd of people outside the
tenement building.
Somerset follows the body bag out and Mills follows Somerset.
They walk towards the end of the filthy block, past a man
urinating on a car.
MILLS
I'm a little thrown. I just got in town
like twenty minutes ago and they dumped me
here.
SOMERSET
Since we're just starting out, I thought we
could go to a bar... sit and talk for
awhile. After that, we'll...
MILLS
(interrupting)
Actually, if it's all the same, I'd like to
get to the precinct house a.s.a.p. Seeing
how we don't have much time for this whole
transition thing.
Somerset keeps walking, says nothing.
MILLS
I need to start getting the feel of it all,
right? Meet the people.
SOMERSET
I meant to ask you something, Mills, when
we spoke on the phone. I can't help
wondering... why here?
MILLS
I... I don't follow.
SOMERSET
All this effort you've made to get
transferred, it's the first question that
pops into my head.
MILLS
I'm here for the same reasons as you, I
guess. Or, at least, the same reasons you
used to have for being here before...
before you decided to... quit.
Somerset stops and faces Mills.
SOMERSET
You just met me.
MILLS
Maybe I'm not understanding the question.
SOMERSET
It's very simple. You worked a nice, quiet
town, but you fought to get here as if your
life depended on it. I've just never seen
it done that way before, Detective.
MILLS
Maybe I thought I could do more good here
than there. I don't know. Look, it'd be
great by me if we didn't start right off
kicking each other in the balls. But,
you're calling the shots, Lieutenant, so...
however you want it to go.
SOMERSET
Let me tell you how I want this to go. I
want you to look, and I want you to listen.
MILLS
I wasn't standing around guarding the local
Taco Bell. I've worked homicide for five
and a half years.
SOMERSET
Not here.
MILLS
I realize that.
SOMERSET
Well, over the next seven days, do me the
favor of remembering it.
Somerset turns and walks away. Mills stands a moment, pissed.
He follows after Somerset.
INSERT -- TITLE CARD
MONDAY
INT. SOMERSET'S APARTMENT -- EARLY MORNING
Somerset lies asleep in bed. It is still dark outside. The
PHONE beside the inactive metronome RINGS. Somerset awakens
suddenly, startled. He looks towards the phone.
INT. MILLS' APARTMENT, BEDROOM -- EARLY MORNING
It is just barely becoming light outside. Mills is wide awake in
bed beside the sleeping form of his wife, TRACY, 30. Mills looks
tired. He listens to passing traffic. He covers his eyes with
his forearm.
He takes his arm away and sits up, frustrated, sits on the edge
of the bed. The room is a shambles, filled with moving boxes.
Light coming through the window glows upon a football trophy
sticking from one box.
Large and noble, a golden player stands in frozen motion at the
trophy's pinnacle.
Mills looks at the trophy and a fond smile forms on his face.
The PHONE RINGS. Mills looks towards it. Tracy awakens. She
looks up with half-opened eyes, a beautiful woman.
TRACY
What is it?
Phone rings. Mills reaches to touch Tracy's shoulder.
MILLS
It's okay.
Mills leans to get the phone. Tracy seems frightened.
TRACY
Honey... where are we?
EXT. APARTMENT BUILDING, ALLEYWAY -- EARLY MORNING
Somerset and Mills, both wearing badges, walk with OFFICER DAVIS,
a beefy, uniformed cop. They pass police cars and head into a
trash strewn alleyway. Davis hands Somerset two flashlights.
DAVIS
Everything's like I found it. I didn't
touch anything.
SOMERSET
What time did you confirm the death?
DAVIS
Like I said, I didn't touch him, but he's
had his face in a plate of spaghetti for
about forty-five minutes now.
They reach a rusty, side door, which Davis pulls open.
INT. APARTMENT BUILDING, STAIRWELL -- EARLY MORNING
They enter a dark, ugly stairwell.
MILLS
(to Davis)
Hold on... you mean you didn't check for
vital signs?
DAVIS
Did I stutter? Believe me, he ain't
breathing, unless he's started breathing
spaghetti sauce.
MILLS
The point is, whenever you find...
DAVIS
Begging your pardon, but the guy's sitting
in pile of his own shit and piss. If he
ain't dead, he would've stood up by now.
Mills is angry, about to speak, but Somerset heads him off.
SOMERSET
(to Davis)
Thank you, officer. We'll need to talk to
you again, after we've looked around.
DAVIS
Yes, sir.
Davis walks out, eyeing Mills. Mills watches him go. The rusty
door slams shut behind Davis. It's very dark. Somerset turns on
his flashlight, hands the other to Mills and starts upstairs.
SOMERSET
I wonder what exactly was the point of the
conversation you were about to get into?
MILLS
And I wonder how many times Officer Davis
there has found a dead man who wasn't
really dead until Davis was in the car
calling it in and eating a donut.
SOMERSET
Drop it.
MILLS
For now.
INT. APARTMENT BUILDING, HALLWAY -- EARLY MORNING
Somerset comes from the stairwell, looking down the dark hall.
At the end of the hall, a door is open. The light of a CAMERA
FLASH spills out from that room every few seconds.
Mills and Somerset move on. Somerset takes out rubber gloves and
slips them on, looking at something on the floor ahead. A yellow
RECYCLING BIN sits just outside the door. It contains many neat,
string-bound stacks of issues of READER'S DIGEST.
INT. APARTMENT, LIVING ROOM -- EARLY MORNING
There are lights on in this room. Lamps with dusty shades. A
few porn mags on a table. Somerset and Mills cross. A couch
against one wall is piled with yellowed, once white pillows. It
faces two small televisions, both on with no sound.
INT. APARTMENT, KITCHEN -- EARLY MORNING
Somerset and Mills enter, using their flashlights in the dark.
Mills takes out a handkerchief, covering his nose. ERIC is
crouched on the floor, putting camera equipment away.
He's wearing a medical mask over his face. He hoists his bag and
moves past the detectives.
ERIC
Enjoy.
Eric leaves. Somerset sweeps the room with his flashlight...
At the stove, each burner has a used pot or pan on it. Food has
been slopped there and on the adjoining counter-top and sink.
Used utensils are everywhere, along with empty tin cans and jars.
Cockroaches swarm.
The flashlight beam follows a trail of dripped sauces, soups and
crumbs of food across the floor from the stove to a kitchen
table. The kitchen table is covered in soiled paper plates which
hold bits of half-eaten sandwiches, potatoes, beef stew, donuts
and many other junk foods.
The kitchen is tiny; barely enough room for three people. The
kitchen table is at the center of the room. An OBESE MAN is
slumped forward in a kitchen chair. He is face down dead in a
plate of spaghetti.
MILLS
Christ... somebody phone Guinness. I think
we've got a World's Record here.
Mills walks to the dead man, leaning to study, without touching.
MILLS
Who said this was murder?
SOMERSET
No one yet.
MILLS
Then, why are we wasting our time? This
guy's heart's got to be roughly the size of
a canned ham. If this isn't a coronary, I
don't know what is.
Somerset moves his flashlight beam down the obese corpse, stops
at the man's feet. Somerset kneels.
At the obese man's pants cuff, there's a tiny bit of rope
sticking out. Somerset uses a pen to lift the pants leg. Rope
is tied around the swollen, purple ankle.
MILLS
Or not.
Somerset stands and steps back. Mills bends to take his place,
looking under the table and shining his flashlight into the
corpse's lap. The obese man's bloated hands are folded there,
bound tightly with rope.
MILLS
Still... he could have tied himself up, to
make it look like murder. I saw a guy
once... committed suicide, but wanted to
make sure his family could collect the life
insurance, right?
Somerset does not listen. He is focused on the corpse, studies
the back of the man's head and neck. He runs his pen against the
back of the corpse's neck, combing the hair upwards.
There are small circular and semi-circular BRUISES on the back of
the obese man's head and neck, some hidden under the hair.
MILLS
When we found him, he was lying there with
a knife in his back, so what else could it
be but homicide? Except, I finally figured
out... he held the knife behind him... put
the tip of it in his own back and got real
close to the wall... then he shoved his
body backwards...
SOMERSET
(irritated)
Please be quiet for a while, would you?
Mills looks up at Somerset from below. Somerset remains focused
on the bruises.
MILLS
(sarcastic)
Oh, yes, sir. Forgive me.
Mills stands and walks around to the other side of the table,
where he gets down again.
MILLS
There's a bucket here.
SOMERSET
What?
MILLS
There's a bucket. Under the table.
Somerset crouches, pulls up the cheap tablecloth on his side of
the table. A METAL BUCKET sits under the table.
SOMERSET
What is it?
Mills slides under with his flashlight, angling in the confined
space to look. He is repulsed and pulls back.
MILLS
It's vomit.
Mills stands and backs away, near the refrigerator, not wanting
to be anywhere near that bucket.
MILLS
It's a bucket of vomit.
SOMERSET
Is there any blood in it?
MILLS
I don't know. Feel free to look for
yourself, okay?
Somerset stands, stares at the obese man. He shakes his head,
perplexed. There is a KNOCK at the door. The detectives look to
see DOCTOR THOMAS O'NEILL, 52, the medical examiner, in the
doorway. O'Neill is looking at the ceiling. He flicks the lights
switch. No light, so he flicks the switch up and down.
O'NEILL
Wonderful.
O'Neill seems a bit gone. He drops his black bag onto the floor
beside the corpse. he begins to sort through the bag, surgical
tools clinking together.
Mills turns to open the refrigerator. It's nearly empty.
MILLS
(to Somerset)
You think it was poison?
SOMERSET
Guessing at this point is useless.
The trash can beside the refrigerator is filled to the brim with
empty food containers. Mills begins to poke around with a pen.
O'NEILL
You girls have got forensics waiting
outside. I don't know if we'll all fit
though.
MILLS
There's room. Light's the problem.
Somerset looks at Mills, then at the space limitations.
SOMERSET
Still... two is company here. And, three
is certainly a crowd.
(pause)
Detective Mills, go help the officers
question the neighbors.
Mills looks up, not pleased.
MILLS
I'd rather stay on this.
Somerset is looking at the corpse.
SOMERSET
Send one of the forensics in on your way
out.
Mills does not move. He lifts his flashlight to shine the light
on the side of Somerset's face. A moment. Somerset looks at
Mills, the light shining directly in Somerset's eyes. A longer
moment. Mills switches off the light and leaves.
O'Neill places both hands on the dead man's head and lifts the
swollen visage from the spaghetti.
O'NEILL
He is dead.
SOMERSET
Thank you, Doctor.
INT. SOMERSET'S CAR -- DAY
Somerset drives with Mills as the passenger. Heavy city traffic.
Both stare ahead in silence. Mills is a bundle of nerves.
MILLS
You've seen my files, right? Seen the
things I've done?
SOMERSET
No.
MILLS
(looking out window)
Anyway... I did my time on door-to-doors,
and walking a beat. I did all that shit
for a long time.
SOMERSET
Good.
MILLS
The badge in my pocket says "detective,"
same as yours.
SOMERSET
I made a decision, because I have to
consider the integrity of the scene. I
can't worry whether you think you're
getting enough time on the playing field.
MILLS
Yeah, well, all I want is...
(pause)
Just, just don't be jerking me off. That's
all I ask. Don't jerk me off.
Mills looks at Somerset. Somerset keeps his eyes on the road,
but nods slightly. That said, Mills slumps low into his seat.
SOMERSET
We'll be spending every waking hour
together till I leave. I'll show you who
your friends are, and your enemies. I'll
help you cut through the red tape and I
will help you "integrate," as the captain
puts it. However...
(pauses, clears throat)
No matter how much you beg or plead...
jerking off is something you'll have to do
for yourself.
This throws Mills. Somerset has a sense of humour?
SOMERSET
Is that clear?
MILLS
Okay... sure... It's just that, with my
old partner, you know...
SOMERSET
I just don't think we should have that sort
of relationship. We'd start quarreling
over insignificant things.
Mills lets out a nervous laugh, feels a bit of weight off his
shoulders.
MILLS
Whatever you say, Detective. Beautiful.
INT. AUTOPSY ROOM -- DAY
The room is large, cold and clean. Stainless steel and white
tile. Many pathologists work at slabs. A bone saw screams.
Mills and Somerset are with DOCTOR SANTIAGO, who stands over the
obese corpse which is pretty well dissected already.
SANTIAGO
He's been dead for a long time, and I can
tell you it was not a poison.
Santiago moves to make room for Mills to stand beside him. Mills
moves up a little, but not much, looking on in disgust. Santiago
reaches into the man's belly. We do not see.
MILLS
Ah, man... how does somebody let himself go
like that? Look at the blubber.
Santiago moves something and there is a squashy sound.
SANTIAGO
It took four orderlies and me all together
just to put this body on the table.
MILLS
How did the fat fuck ever fit out the door
of his apartment?
SOMERSET
Yes, it's obvious he was a shut-in. Not an
enviable life, but, maybe he still deserves
a modicum of respect in spite of that.
SANTIAGO
Are you looking here? First... see how big
this stomach is. And, see the strange
thing. Stretches. And, here it is
distended. Look at the size of that,
because of all the foods.
MILLS
I can see what you're pointing at, but...
SANTIAGO
Lines of distention across the stomach, and
parts have ripped open.
SOMERSET
(disbelief)
Doctor, are you saying... this man ate till
he burst?
SANTIAGO
Well, he didn't really burst. Not all the
way. But, he was bleeding inside himself,
and there is a hematoma on the outside, on
the belly. Very large.
MILLS
He died by eating?
SANTIAGO
Yes. And, there's something else here you
have to look at and see.
Santiago goes to root through many jars on a table. Somerset
walks around the slab, looking down at the obese man's propped
up, partially shaved head.
SOMERSET
These bruises on the victim's head...
More round and semi-circular bruises have been revealed, all
about the same diameter as a dime.
SANTIAGO
I don't know what they are yet. They...
SOMERSET
They could have been caused by a gun. The
barrel of a gun... pressed against the back
of his head.
Santiago picks up the jar he was looking for, comes to lean and
look at the obese man's head, nodding again.
SANTIAGO
If it was jammed against him hard enough,
sure. It's possible. Here...
Santiago gives the jar to Somerset.
SANTIAGO
Most of the stomach's food contents are in
the lab now.... but, these... I found these
in his stomach too.
Somerset holds the jar up. Inside are many little pieces of blue
plastic. They are curled slightly, as if they are scrapings.
Somerset hands the jar to Mills. Mills shakes it, studying.
MILLS
Plastic?
SANTIAGO
Why these are in a fat man's stomach, I
don't know.
INT. APARTMENT, KITCHEN -- DAY
The room where the obese corpse was found is now lit by
fluorescent light. Two forensics, a MALE and FEMALE, are dusting
for prints. Somerset and Mills are on their hands and knees.
Somerset holds the jar and touches the linoleum floor.
SOMERSET
Same color and texture.
MILLS
(to forensics)
Have you found any plastic scrapings near
the stove or sink? Near the food?
MALE FORENSIC
What do you mean?
Mills and Somerset continue looking around the floor.
MILLS
(to Somerset)
This doesn't make any sense.
SOMERSET
You always have to find one singular thing
to focus on. There's always one thing, and
it may be as small as a speck of dust, but
you find it and focus... till it's an
exhausted possibility.
The forensics watch, curious. Somerset is near the refrigerator.
MILLS
It could be nothing.
SOMERSET
But, why would there be so many pieces in
his stomach if it were nothing? It must
have been intentional.
Somerset stops. There are deep scratches here in the linoleum.
He fingers the grooves, then takes a piece of the plastic from
the jar. He holds the piece to the floor, fiddles... fits it
into one of the scratches.
Somerset gets off the floor and looks down. These scratches are
in front of the refrigerator. it looks like they were caused by
the refrigerator having been pulled away from the wall and pushed
back into place at some time.
SOMERSET
(to Mills)
Come here.
INT. APARTMENT, KITCHEN -- LATER DAY
Mills and Somerset pull the refrigerator, rocking it back and
forth away from the wall to get a clear view behind it. They
strain, pull it a few more feet, and release.
Mills leans to look at the wall behind. Shock.
MILLS
Holy shit.
Somerset comes to look. Behind the refrigerator, there is a
space on the wall where the dust has been wiped away. In that
space, the words: ONE IS GLUTTONY. The letters have been
smeared on in grease. A NOTE is pinned beside them.
INT. PRECINCT HOUSE, CAPTAIN'S OFFICE -- EARLY EVENING
The captain's office is filled with pictures, books and
mugsheets. Piles of paperwork abound, yet the office is
meticulously well kept. The CAPTAIN, 50, sits at his tidy desk.
He wears a white shirt and conservative tie.
He's a calm man, but whenever he is not speaking, without fail,
he clenches his jaw over and over, causing the muscles in his
neck and jaw to pulse. Somerset and Mills sit before him.
SOMERSET
The bruises were caused by the muzzle of a
forty-five. So, there was a gun against
his head and he was given a choice. Eat,
or get your brains blown out.
Somerset gets up to pace.
SOMERSET
He ate his fill, and was forced to continue
eating... till his body rejected the food.
the killer held a bucket under him, and
then kept serving. He took his time. The
coroner says this might have gone on for
more than twelve hours. The victim's
throat was swollen from the effort, and
there was probably a point where he passed
out. That's when killer kicked him in the
stomach. Popped him.
MILLS
This was one sadistic motherfucker.
CAPTAIN
That seems obvious.
Somerset picks up a photocopy of the NOTE from behind the fridge.
SOMERSET
(reads)
"Dear Detectives, Long is the way, and
hard, that out of hell leads up to light."
It's the murderer's way of announcing
himself.
CAPTAIN
Announcing what?
SOMERSET
There are seven deadly sins. Gluttony,
wrath, greed...
CAPTAIN
So what? This victim...
SOMERSET
... envy, sloth, pride and lust. Seven.
CAPTAIN
Hey, so gluttony is one of the seven deadly
sins. But, this was a fat guy. The killer
may have felt this was the just best way to
torture him.
And, writing on the walls happens all the
time. It's like the fashionable thing to
do.
SOMERSET
One is gluttony.
The captain is disgruntled, clenching his jaw, looks at Mills.
MILLS
This is his stuff. I've been out in the
cold all day.
SOMERSET
This is a premeditated puzzle, and it's
only the beginning.
CAPTAIN
Always working up there, huh, Somerset?
Big brain's always cooking.
Somerset sits.
SOMERSET
I'm declining this case. I want us
reassigned.
MILLS
Whoa, whoa... what?!
CAPTAIN
What's this: "I'm declining this case?" It
don't work that way.
SOMERSET
This can't be my last duty here. It will
go on and on.
CAPTAIN
I know what you're thinking, okay? You
don't want to get in bed with this every
night, but it's different now. You're
retiring. In six days you're all the way
gone.
Somerset shakes his head.
CAPTAIN
You've left unfinished business before.
SOMERSET
Everything else was taken as close to
conclusion as humanly possible. Also...
this shouldn't be his first assignment.
MILLS
This isn't my first assignment, dickhead.
What the hell?
Mills stands, furious.
CAPTAIN
I don't have anyone else to give this to,
Somerset, you know that. And nobody's
going to swap with you.
MILLS
Give it to me.
CAPTAIN
How's that?
MILLS
There's nothing that says I have to work
with him. If Somerset wants out,
"goodbye." Give it to me.
The captain considers this.
SOMERSET
It's too soon for him.
MILLS
(to the captain)
Can we talk about this in private?
The captain looks at Somerset, then at Mills.
CAPTAIN
That's not necessary. You're in.
MILLS
Thank you.
CAPTAIN
Go start picking up the pieces. We'll
shuffle some paper and try to get you a new
partner.
Mills looks at Somerset, then leaves, closing the door. Somerset
seems deflated, staring at the floor. He looks at the captain.
CAPTAIN
You win, Somerset. You're out.
INSERT -- TITLE CARD
TUESDAY
EXT. CITY STREET -- DAY
A newspaper vendor lays out a pile of tabloid newspapers at the
front of his busy newsstand.
The papers' headline is: BIZARRE MURDER!, in huge, black print.
The vendor lays out another tabloid pile. Headline: "EAT OR DIE"
SAYS GLUTTONY KILLER!!, in big, red letters.
The vendor throws down a third tabloid stack. SICKENING
MURDER -- EXCLUSIVE DETAILS INSIDE!, it reads.
INT. PRECINCT HOUSE, SOMERSET'S OFFICE -- DAY
The office is old, with a single window which faces a billboard.
TRAFFIC is HEARD from outside. There are moving boxes on the
floor. Somerset is at his desk with paperwork in two sloppy
piles. He uses a manual typewriter, filling in a yellow form.
He types hunt-and-peck, slowly. He finishes the form and pulls
it out. There is a knock at the door.
SOMERSET
Come in.
The captain pushes the door and stands in the doorway with a
PAINTER/WORKMAN at his side.
CAPTAIN
Excuse us. We have some business to take
care of.
As always, the neatly groomed captain clenches his jaw.
Somerset lines a new form in the typewriter, starts typing.
The captain strolls in. Two boxes sit on the floor with
DETECTIVE MILLS written across them. He picks up one of the
boxes and sets it on top of the other.
At the open door, the workman takes a razor blade from his kit.
He brings it against the writing on the glass of the door:
DETECTIVE SOMERSET. The workman pushes the razor to start
scraping the name away, and the razor on glass sounds like
fingernails on a blackboard.
Somerset looks up.
WORKMAN
Sorry.
Somerset turns back to the typing, hunt-and-peck. The captain
watches. The workman continues.
CAPTAIN
Have you heard?
SOMERSET
(not looking up)
No, I haven't heard.
CAPTAIN
There was a second.
Somerset stops, looks at the captain.
SOMERSET
Already.
CAPTAIN
Greed. It was written in blood.
Somerset thinks about this, then turns to type.
SOMERSET
It's none of my business anymore.
CAPTAIN
I thought you might want to be filled in.
SOMERSET
I'm sure everyone's doing their best.
CAPTAIN
Yeah.
SOMERSET
Good.
Hunt-and-peck. The captain's jowls clamp. He steps up to
Somerset's desk, begins to straighten the two piles of forms.
CAPTAIN
Come on. What are you going to do with
yourself out there?
SOMERSET
I'll get a job, maybe on a farm. I'll work
on the house.
CAPTAIN
Can't you feel it yet? Can't you feel that
feeling... ? You're not going to be a cop
anymore.
SOMERSET
What are you talking about?
CAPTAIN
You know.
Somerset reclines, facing the captain.
SOMERSET
Did you read in the paper today, about the
man who was walking his dog? he was
attacked, and his wallet and his watch
were taken. And then, while he was still
lying unconscious, his attacker stabbed him
with a knife in both eyes. It happened
four blocks from here.
CAPTAIN
I heard.
SOMERSET
I have no understanding of this place
anymore.
CAPTAIN
It's always been like this.
SOMERSET
Really?
Somerset saddles up to the typewriter.
SOMERSET
Maybe you're right.
The captain lays the paperwork down. Both piles are now neat.
CAPTAIN
You do this work. You were made for it,
and I don't think you can deny that. I
certainly can't believe you're trading it
in for a tool belt and a fishing rod.
(pause, walks to leave)
Maybe I'm wrong.
The captain leaves. Somerset looks up. He grabs the paperwork
piles and ruffles them back to their disheveled state. He looks
up at the workman.
The workman is looking at Somerset, has a rag in his hand to
remove the last remnants of Somerset's name.
SOMERSET
(angrily)
Try putting a little elbow grease into it.
The workman is startled, continues his work.
INT. SOMERSET'S APARTMENT, LIVING ROOM -- LATE NIGHT
There is a dart board on one wall. THWACK -- Somerset's
switchblade hits the board and embeds.
Somerset crosses the nearly empty living room and takes the blade
from the dart board. He walks back to stand in front of the only
chair in the room. He throws the switchblade.
It embeds in the dart board. Somerset sits.
He picks a book off the floor and holds it in his lap. KIDS can
be HEARD CURSING and playing LOUD MUSIC from outside the
shuttered window. Somerset stares at the ceiling. He opens the
book and looks at the pages... stares at the pages...
He puts the book back down on the floor.
EXT. CITY STREET -- LATE NIGHT
Somerset gets out of his car. He walks down the sidewalk with a
notebook in hand. THUNDER is HEARD. He takes a cigarette out of
a full pack and lights it.
He walks along the avenue. Cars race by in the street. People
walk briskly past. At a public phone, a man shouts curses
angrily into the phone, then starts pounding the phone box with
the receiver. A fire engine passes in the street, sirens, horn
and lights going full blast.
Somerset starts up a flight of massive stone stairs, past several
sleeping vagrants. One VAGRANT sits up and looks to Somerset.
VAGRANT
Spare me a cigarette? Spare a cigarette?
SOMERSET
Sorry, last one.
Ahead of Somerset, the library looms, a solid, powerful
structure.
INT. PUBLIC LIBRARY, MAIN LIBRARY -- LATE NIGHT
Somerset and GEORGE, 62, the night guard, enter the vast space of
the deserted main library.
The lamps hanging from the ceiling give off a warm, pleasant glow
over mahogany tables and chairs. To each side of this center
area are tall bookshelves. Balconies surround the room on all
four sides; three levels which overlook the center.
Somerset is happy. This is his element, this peaceful, elegant
place. George motions to the long, empty tables.
GEORGE
Sit where you'd like.
SOMERSET
Thanks, George.
MAN'S VOICE (O.S.)
Hey there, Smilely.
Somerset looks up to the top balcony where TWO OTHER SECURITY
GUARDS and one JANITOR look over the banister.
SOMERSET
Evening, gentlemen.
They all say their hellos.
FIRST GUARD
Come on, George. Cards are getting cold.
GEORGE
(to Somerset)
Duty calls.
George pumps Somerset's hand, then moves to a stairwell leading
to the balconies. Somerset walks down the main aisle, looks
around at the shelves and shelves of books.
George reaches the top balcony and the others sit at a card table
where a poker game is in progress.
Somerset puts his notebook down on one table and switches on a
green banker's lamp. THUNDER SOUNDS. Somerset looks up.
Rain is beginning to fall on the windows of the high ceiling.
SOMERSET
(shouts up)
All these books, gentlemen... a world of
knowledge at your disposal, and you play
poker all night.
UP ON THE BALCONY
George has taken a huge BOOM-BOX from a broom closet.
JANITOR
We got culture.
SECOND GUARD
(dealing cards)
Yeah, we got culture coming out our asses.
They laugh. George sets the boom-box against the railing of the
balcony so the speakers face towards Somerset.
DOWN ON THE MAIN FLOOR
Somerset has gone into one bookshelf aisle. Poker table
conversation echoes from above. Somerset searches books, reading
spines. He finds one book and pulls it, continues searching.
UP ON THE BALCONY
George hits play on the boom-box and turns the volume way up.
GEORGE
How's this for culture?
DOWN ON THE MAIN FLOOR
Somerset keeps looking for books. From far away come the strains
of MOZART MUSIC filling the air. High, drifting music, such as
AIR (On the G string.) Somerset stops, listens.
He closes his eyes and soaks it in.
UP ON THE BALCONY
George sits at the card table, takes out a cigar and lights up.
He looks to the ground floor.
GEORGE
Where'd you get to, Smilely?
Below, Somerset comes out from the aisle.
DOWN ON THE MAIN FLOOR
Somerset looks up at George.
SOMERSET
Thank you.
INT. PUBLIC LIBRARY, MAIN LIBRARY -- LATER NIGHT
MUSIC CONTINUES, spinning through the air like a slow, cool
breeze.
Somerset walks, surrounded by books, carrying several. He pulls
another off a shelf and adds it to his pile.
UP ON THE BALCONY
George lays down a winning hand. The others toss in their cards
in disgust. George laughs, spouting cigar smoke.
Cigar smoke floats up in the air, thinning gracefully. Above,
rain continues dancing on the ceiling windows.
DOWN ON THE MAIN FLOOR
Somerset sits, opens a book on the table and reads.
INT. MILLS' APARTMENT, BEDROOM/LIVING ROOM -- NIGHT
MUSIC CONTINUES, uninterrupted over this scene. Music so pretty
it is almost sad. Tracy, in a nightgown, sits up in bed, tense,
She throws off the covers and goes to the door.
She stands looking into the living room where Mills is at a desk.
Mills sorts through paperwork and photos with his back to Tracy.
A basketball game is on the television, but he pays it no mind.
He sits forward, obviously frustrated, drinks coffee. He does
not know Tracy is there.
Tracy watches her husband, concerned.
INT. PUBLIC LIBRARY, MAIN LIBRARY -- NIGHT
MUSIC CONTINUES. Somerset has two books open. He opens his
notebook and brings a pen to bear. Writes:
SEVEN DEADLY SINS
GLUTTONY GREED WRATH LUST PRIDE ENVY SLOTH
He crosses out GLUTTONY and GREED. Somerset picks up one book:
DANTE'S PURGATORY. Volume II of the DIVINE COMEDY. Somerset
opens it:
-------------------------------------------------------------
| THE EARTHLY PARADISE |
|-------------------------------------------------------- / |
| / |
| VII The Lustful /____|
| / |
| VI The Gluttonous /_______|
| 7 TERRACES OF / |
| V The Avaricious / |
| and Prodigal /__________|
| PURGATION / |
| / |
| / |
| IV The Slothful /______________|
| / |
| / |
| / |
| III The Wrathful /__________________|
| / |
| II The Envious /____________________|
| / |
| I The Proud /______________________|
| / |
| / |
| / THE ISLAND |
| / |
| / OF PURGATORY |
| / |
|_______________________________/_____________________________|
UP ON THE BALCONY
George and the guys finish another hand. George looks down at
Somerset, who is writing in the notebook. George takes up the
cards and starts shuffling.
GEORGE
(down to Somerset)
You know, Smilely... you're really going to
miss us.
George shuffles again, but they flip wrong and a few go off the
table, over the balcony.
DOWN ON THE MAIN FLOOR
Somerset looks up at George, then looks around.
SOMERSET
I just might.
ABOVE
The cards George dropped are fluttering, flipping downwards.
INT. PRECINCT HOUSE, SOMERSET'S OFFICE -- EARLY EVENING
The office is dark. Somerset is at his desk, writing:
DETECTIVE MILLS, YOU MAY WANT TO LOOK AT THE FOLLOWING BOOKS,
RELATING TO THE SEVEN DEADLY SINS:
DANTE'S PURGATORY
THE CANTERBURY TALES -- THE PARSON'S TALE
DICTIONARY OF CATHOLICISM
INT. PRECINCT HOUSE, SOMERSET'S OFFICE -- LATER EVENING
Somerset lays an envelope on top of the two boxes which have
Detective Mills' name on them. The envelope reads: MILLS.
INSERT -- TITLE CARD
WEDNESDAY
INT. PRECINCT HOUSE, SOMERSET'S OFFICE -- MORNING
Somerset pushes the door open and notices "DETECTIVE MILLS"
painted on the glass. Rain falls outside. Somerset goes to his
desk, but stops. All his belongings have been moved to a small,
temporary desk in the corner.
Somerset moves to open the top left drawer of the big desk.
Empty. He goes to the temporary desk and urgently searches
through the boxes of papers and files... finds what he was
looking for. He holds a small frame which fits in his palm.
Inside the frame is a PHOTO of an attractive WOMAN. Somerset
pops the frame open, looks at the picture, then puts the picture
in his wallet.
Somerset sits at the temporary desk. He begins to sort through
his papers. After a moment, he glances over his shoulder. The
envelope he left for Mills is gone.
EXT. UPSCALE CITY BLOCK -- MORNING
It's raining. At one high-rent office building, many business
men and women are coming and going in a lunch-hour hurry. Just
to one side of the building, the CORONER'S WAGON drives out from
the mouth of the parking garage into the rain. People on the
sidewalk have to stop to let it cross to the street. At the same
time, a large Lincoln Towncar turns off the street, heads into
the bowels of the garage.
EXT. UPSCALE BUILDING, UNDERGROUND GARAGE -- MORNING
Many police cars and news vans here, and police men and reporters
and photographers everywhere. Mills, looking haggard, finishes a
conversation with a TALL COP by the service elevator.
MILLS
... good. Do it. I'm going back up.
Tall Cop hurries away as Mills pushes repeatedly on the service
elevator button. The elevator doors open and Mills steps in. As
the door are shutting, a COMMOTION is HEARD. Mills stops the
door and looks out.
Across the garage, the Towncar is pulling to a stop and reporters
are rushing to it. FLASHBULBS are FLASHING.
MARTIN TALBOT, 47, impressive and well dressed, steps out of the
car and faces the reporters as they start shouting questions.
In the service elevator, Mills lets the doors slide shut.
INT. UPSCALE BUILDING, SERVICE AREA -- MORNING
The service elevator opens to a dark physical plant room. Mills
exits the elevator and crosses past humming air-conditioning
vents, dripping pipes and janitor's lockers. To a door...
INT. UPSCALE BUILDING, OFFICE CORRIDOR -- MORNING
Mills comes out the service area door into a bright, ritzy
hallway. This hall and the doors along it reek of money. A few
cops are standing around. Ahead there's a police line, which
Mills ducks under on his way to stately mahogany doors.
INT. LAW OFFICE -- MORNING
A huge law office. A television is on in one corner, showing the
news. Windows overlook the rain wet city. Two FORENSICS dust
for prints, whispering to each other when Mills enters.
FORENSIC ONE
(to other forensic)
... going to screw it up. I swear... I've
seen...
The other forensic clears his throat, getting back to work.
Forensic One shuts up. Mills notices this, weary.
MILLS
How's it coming?
FORENSIC ONE
Nothing yet.
Mills watches them a moment, then turns his attention to another
part of the office. A leather chair sits in an open area.
The chair and the carpet under it are covered in a goodly portion
of brown, dried blood.
There is a trail of dripped blood from the chair to a large desk.
On a cleared off section of the desk, a two-armed, counter
balance SCALE sits, also blood stained. The desk has been
dusted. Behind the desk, GREED is written on the wall in blood,
near a modern art painting.
Mills stands staring at this area. The TELEVISION is HEARD:
ANCHOR (v.o.)
(from television)
... going cut in live downtown right now,
where Defense Attorney Eli Gould was found
murdered in his office late last night.
District Attorney Martin Talbot is taking
questions from reporters...
ON T.V., Talbot comes on screen, a powerful presence, with a gold
tooth in the front of his mouth. It's from down in the garage.
A REPORTER (v.o.)
(from television)
... a small conflict of interest here? I
mean, your prosecutors have lost more than
a few very high profile cases to Mister
Gould and his defense team...
TALBOT (v.o.)
(from television)
Now, that's ridiculous to the point of
almost being offensive. There's no
conflict of interest whatsoever, and any
claim that there would be, or could be, is
irresponsible.
Other reporters begin to shout questions, but Talbot's not done.
TALBOT (v.o.)
Now, hold on... I want to address that.
I've just come from a meeting with law
enforcement officials, and they've assured
me they put their best people on this
thing.
Mills turns to looks at Talbot on the screen.
TALBOT (v.o.)
You just wait and see how quickly we get a
handle on it. This will be the very
definition of swift justice.
Mills walks to turn the t.v. off.
MILLS
(quietly to t.v.)
Shut the fuck up.
He turns and looks to see the forensics looking at him. The
forensics look away.
Mills walks away from the t.v., to a picture frame on the floor.
The frame has been placed specifically in the center of the room,
facing the doors.
It is a photo if a falsely pretty, middle-aged woman, smiling and
wearing pearls. On the glass of the frame, two circles have been
drawn with blood around the woman's eyes.
Mills sits on the floor, stares at the photo.
INT. MILLS' CAR -- MORNING
Mills gets in and slams the door. He is alone with the sound of
the rain. He wipes water from his face and looks at his tired
eyes in the rear view mirror. He leans over to the glove
compartment and takes out two newly purchased paperbacks: The
Canterbury Tales and Dante's Purgatory.
Mills makes a face and opens Dante's Purgatory to a bookmark. He
rests the book on the steering wheel. He reads.
He bites his lip, leaning close to the words.
He is really concentrating, mouths some of the words to himself.
He finally shakes his head and closes the book, not understanding
a word of it. Pause. He starts pounding the book against the
steering wheel with all his might.
MILLS
Fucking, Dante, goddamn, poetry-writing,
faggot motherfucker...
Mills throws the book against the windshield, then puts his head
back and closes his eyes, trying to calm. A long moment. Quiet.
BANG, BANG, BANG -- there's a loud BANGING on the window and
Mills looks up, startled...
Tall Cop is at the window in rain gear. Mills rolls it down.
Tall Cop hands a wet paper bag through.
MILLS
Good work, Officer. Good work.
Mills rolls the window up, rips the bag open. Inside: Cliff
Notes for Dante's Purgatory and for The Canterbury Tales.
MILLS
Thank God.
INT. PRECINCT HOUSE, SOMERSET'S OFFICE -- DAY
It still rains outside. Somerset sits at the big desk which is
now Mills'. He fills out form by hand as Mills enters with a ton
of his own paperwork. Somerset looks up.
SOMERSET
(gathers his things)
Let me get out of your way.
Mills sets his paperwork on the desk. He is beat. Somerset
moves to the temporary desk. They both sit and settle in,
organizing, not looking at each other.
Both attend to their work. Here are two men, about five feet
apart, each trying not to acknowledge the other's presence.
Mills takes his Cliff Notes out, looks to see Somerset is
occupied, and hides them in a desk drawer.
Somerset finishes one form, flips it and looks at Mills. Mills
sorts through photos from the greed murder. Somerset continues
writing. PHONE RINGS. Both men look at it. Phone rings again.
SOMERSET
It's a package deal. You get the phone
with the office.
MILLS
(picks up, into phone)
Detective Mills here.
(listens, lowers voice)
Honey... I asked you not to call me here.
I'll call you back...
(listens)
What? Why?
Mills is very confused.
MILLS
(into phone)
Why? Okay... okay, hold on.
Mills clears his throat and holds out the phone to Somerset.
MILLS
It's my wife.
SOMERSET
What?
Mills shrugs. Somerset stands, takes the phone.
SOMERSET
(into phone)
Hello?
(listens)
Yes, well... it's nice to speak to you.
(listens)
Well, I appreciate the thought... but...
(listens)
Then, I guess I'd be delighted. Thank you
very much. Yes... goodbye.
Somerset hangs up, shakes his head.
MILLS
Well?
SOMERSET
I'm invited to have a late supper at your
house. And, I accept.
MILLS
How's that?
SOMERSET
Tonight.
Mills is lost. Somerset goes to sit back down.
MILLS
I don't even know if I'm having dinner
there tonight.
INT. MILLS' APARTMENT, LIVING ROOM/KITCHENETTE -- NIGHT
Food is cooking on the stove. Tracy is in the living room area
carefully setting the table with good silver and china.
The door to the apartment is HEARD OPENING and CLOSING. Mills
and Somerset come down a short hallway. Mills carries a brand
new briefcase.
TRACY
Hello, men. You made it.
MILLS
Hi, honey.
Mills gives Tracy a kiss, then presents Somerset.
MILLS
I'd like you to meet Somerset.
SOMERSET
Hello.
Somerset shakes Tracy's hand lightly.
TRACY
It's nice to meet you. My husband has told
me a lot about you... except your first
name.
SOMERSET
Oh... um, William.
TRACY
It's a nice name. William, I'd like you to
meet David.
(to Mills)
David... William.
Mills smiles and nods this off, heading across the room.
MILLS
Great... I'm, uh, just going to put these
things away.
Mills moves to the adjoining bedroom. Somerset stands with his
hands folded in front of him.
SOMERSET
It smells good.
TRACY
What? Oh, yes. I mean, thank you.
(motions to the table)
Please, sit down.
Somerset takes off his jacket. Tracy goes to check on the food.
TRACY
You can put that over on the couch. You'll
have to excuse all the mess. We're still
unpacking.
Somerset notices something on Mills' desk. It's a medal, in a
small, clear case amongst the papers and pens.
SOMERSET
I hear you and Mills were high school
sweethearts.
TRACY
High school and college, yes. Pretty
hokey, huh? I knew on our first date this
was the man I was going to marry. God...
he was the funniest man I'd ever met.
SOMERSET
Really?
Somerset has to think about that one for a second. He picks the
medal up: a medal for valor from the Police Department.
SOMERSET
Well, it's rare these days... that kind of
commitment.
He puts the medal down. Tracy is looking at the gun strapped
under Somerset's arm as Somerset starts to unstrap it.
SOMERSET
(about the gun)
Don't worry. I don't wear it at the dinner
table.
TRACY
No matter how often I see guns, I still
can't get used to them.
Somerset lays the gun with his jacket.
SOMERSET
Same here.
Tracy smiles. Somerset goes to the table and transfers a small
notebook from his breast pocket to his pants pocket. A piece of
paper falls to the floor, closer to Tracy.
TRACY
Anyway... what girl wouldn't want the
captain of the football team as their
lifetime mate? Here... you dropped
something...
Tracy picks it up. It is the pale, paper rose. She looks at it
as she hands it back to Somerset, who is self-conscious.
TRACY
What is that?
Somerset looks at the rose, then puts it away.
SOMERSET
My future.
Tracy tilts her head, looking at Somerset.
TRACY
You have a strange way about you... I mean
interesting. I'm sorry. It's really none
of my business. It's just nice to meet a
man who talks like that.
(goes back to stove)
If David saw that paper, he'd say you're a
fag. That's how he is.
SOMERSET
(smiles)
I guess I won't be showing it to him then.
INT. MILLS' APARTMENT, LIVING ROOM -- LATER NIGHT
A record player on a moving box PLAYS QUIET MUSIC. Tracy, Mills
and Somerset are eating. Mills has a beeper beside his plate and
occasionally fingers it absently.
TRACY
Why aren't you married, William?
MILLS
Tracy... what the hell?
Somerset pokes at the napkin, thinking.
SOMERSET
I was close once. It just didn't happen.
TRACY
It surprises me. It really does.
SOMERSET
Any person who spends a significant amount
of time with me finds me... disagreeable.
Just ask your husband.
MILLS
Very true.
Mills grins, but he means it.
TRACY
(to Somerset)
How long have you lived here?
SOMERSET
Too long.
(drinks)
What do you think so far?
Tracy glances immediately to Mills.
MILLS
It takes time to settle in.
Somerset can see it is a sore subject.
SOMERSET
Well, you can get numb to it pretty quickly.
There are things in any city...
A LOW RUMBLING is HEARD. Plates on the table begin to clatter.
MILLS
Subway train.
The dishes clatter more. Coffee cups clink against their
saucers. Tracy holds her coffee cup to stop it and smiles at
Somerset to act like it's nothing, but she is clearly bothered.
TRACY
It'll go away in a minute.
They wait. The rumbling grows louder, knocks something over in
the sink. Somerset continues eating, fiddles with his food. The
record player skips, then plays on. The clattering dies down.
Mills seems uncomfortable.
MILLS
This real estate guy... this miserable
fuck, he brought us to see this place a few
times. And, first I'm thinking he's good,
really efficient. But then, I started
wondering, why does he keep hurrying us
along? Why will he only show us this place
for like five minutes at a time?
Mills laughs lamely.
TRACY
We found out the first night.
Somerset tries to stay straight, but he can't help laughing.
SOMERSET
The soothing, relaxing, vibrating home.
Sorry...
He laughs harder, covering his mouth. Tracy and Mills laugh.
MILLS
Oh, fuck.
INT. MILLS' APARTMENT, LIVING ROOM -- LATER NIGHT
The record player plays another album. Tracy brings over a pot
of coffee and pours. Mills and Somerset have beers.
TRACY
I don't think I've ever met anyone who
doesn't have a television before.
That's... weird.
MILLS
It's un-American is what it is.
SOMERSET
All television does is teach children that
it's really cool to be stupid and eat candy
bars all day.
MILLS
What about sports?
SOMERSET
What about them?
Tracy brings over a plate of cookies and puts it on the table.
MILLS
You go to movies at least?
SOMERSET
I read. Remember reading?
MILLS
I just have to say, I can't respect any man
who's never seen "Green Acres."
Somerset gives a blank stare. Tracy walks across the room.
MILLS
You've never seen "The Odd Couple?" This
is sick. "The Honeymooners?!"
SOMERSET
I vaguely recall a large, angry man, and
someone called Norton.
Tracy turns the record player down further, then goes into the
bedroom and shuts the door behind her.
Somerset and Mills look a the closed door. A long moment. They
look at each other, then sit for a time. Somerset puts down his
beer, sighs. He looks around.
INT. MILLS' APARTMENT, LIVING ROOM
The only sounds are from the city outside. The living room table
has been cleared and its surface is now covered with various
forms, reports and 8" by 10" photographs. Mills and Somerset are
both standing. Mills guides Somerset through the photos.
MILLS
Our guy got into office, probably before
the building closed and security tightened
up. Gould must have been working late.
SOMERSET
I'm certain. He was the biggest defense
lawyer around. Infamous, actually.
MILLS
Well, his body was found Monday night,
okay? But, get this... the office was
closed all day Monday. Which means, as
long as the gluttony killing was done
before the weekend, our killer could've
gotten in here on Friday. He could've
spent all day Saturday with Gould, and all
day Sunday.
Mills picks up one photo and shows it to Somerset. Long shot: it
shows the greed murder scene. Gould sits dead in the leather
chair, near the desk where the counter-balance scale sits.
MILLS
Gould was tied down, nude. The killer left
his arms free and handed him a big, sharp
butcher's knife. See... the scale here.
Mills pulls another photo. Close up: the two-armed scale. In
one suspended plate is a one pound weight. In the other is a
hunk of flesh.
SOMERSET
A pound of flesh.
Mills digs, comes up with a photocopy of a hand-scrawled note.
SOMERSET
(reading note)
"One pound of flesh, no more no less. No
cartilage, no bone, but only flesh. This
task done... and he would go free."
Mills takes out one photo showing the note pinned to the wall
beside where "greed" is written in blood.
MILLS
The leather chair was soaked through with
sweat.
SOMERSET
(nods, grim)
All day Saturday, and all day Sunday.
(pause)
The murderer would want Gould to take his
time. To have to sit there and decide.
Where do you make the first cut? There's a
gun in your face... but, what part of your
body is expendable?
MILLS
He cut along the side of his stomach. The
love handle.
Somerset's still studying the photos.
SOMERSET
He must have left another puzzle piece.
MILLS
Look, I appreciate being able to talk this
out, but, uh...
SOMERSET
This is just to satisfy my curiosity. I'm
still leaving town Saturday.
Mills is very tired. He rubs his eyes, then walks to take one
more photo from his briefcase. It is the photo of the framed
picture of the falsely pretty woman with her eyes circled in
blood.
MILLS
Gould's wife. She was away on business.
If this means she saw anything, I don't
know what. We've questioned her at least
five times.
SOMERSET
And, if it's a threat.
MILLS
We put her in a safe house.
Somerset nods. He puts down the photos he's holding. He begins
spreading all the pictures out.
SOMERSET
Look at these with fresh eyes. Don't see
what the killer wants you to. Don't let
guide you...
While he speaks, Somerset keeps shifting the photos, for example:
covering the corpse in one with the edge of another.
SOMERSET
Even if the corpse is right there... it's
almost like looking through it. Editing
out the initial shock. Look at the room.
In the photos, there's the scale. The note on the wall. Shelves
of books. The Modern Art painting.
GREED written in blood.
SOMERSET
He's preaching.
MILLS
Punishing.
SOMERSET
The sins were used in medieval sermons.
There were seven cardinal virtues, and then
seven deadly sins, created as a learning
tool, because they distract from true
worship.
MILLS
Like in the Parson's Tale, and Dante.
SOMERSET
Did you read them?
MILLS
Yeah. Parts of them. Anyway, in
Purgatory, Dante and his buddy are climbing
up that big mountain... seeing all these
other guys who sinned...
SOMERSET
Seven Terraces of Purgation.
MILLS
Right. But there, pride comes first, not
gluttony. The sins are in a different
order.
SOMERSET
For now, let's just consider the books as the
murderer's inspiration.
The books and sermons are about atonement
for sin. And, these murders have been like
forced attrition.
MILLS
Forced what?
SOMERSET
Attrition. When you regret your sins, but
not because you love God.
MILLS
Like, because someone's holding a gun on
you.
Mills runs his hands across his face, walks to the fridge to get
beer. Somerset keeps looking at photos and papers.
SOMERSET
No fingerprints?
MILLS
Nothing.
SOMERSET
Totally unrelated victims.
Mills nods, drinking from a beer.
SOMERSET
No witnesses of any kind?
MILLS
None. Which I don't understand. He had to
get back out.
Somerset sits in a chair, picks up the photo of the wife. Runs
his fingers over the eyes circled in blood.
SOMERSET
In any major city, minding your own
business is a perfected science. There's a
public crime prevention course offered at
the precinct house once a month. The first
thing they teach is that you should never
cry "help." Always scream "fire," because
people don't want to get caught up in
anything. But a fire... that's an
evening's entertainment. They come
running.
Looking at the wife's photo.
SOMERSET
This is the one thing.
MILLS
I know.
SOMERSET
(holds photo up)
What if it's not that she's seen
something? What if she's supposed to see
something, but she just hasn't been given a
chance to see it yet?
MILLS
Okay. But, what?
INT. SAFE HOUSE -- NIGHT
The room is like a hotel room. Mills stands beside the woman
from the picture, MRS. GOULD. Mills shows her photos from the
murder scene. The photos have been covered in sections to hide
the Mr. Gould's corpse. Mrs. Gould is crying. Somerset is on
the other side of the room, holding more photos.
MILLS
I'm sorry about this, Mrs. Gould. I really
am.
MRS GOULD
I... I don't understand.
Mills helps her flip through the photos. He isn't too keen to
put her through this.
MILLS
I need you to look at each one carefully...
very carefully. Look for anything that
seems strange or out of place. Anything at
all.
MRS GOULD
I don't know why... why now?
MILLS
Please, I need you to help me if we're
going to get who did this.
Mrs. Gould sobs quietly, wipes her tears.
MILLS
Anything... anything missing or different.
MRS GOULD
I don't see anything.
MILLS
Are you absolutely certain?
MRS GOULD
I can't do this now... please.
Mills looks to Somerset, looks at the photos Somerset holds.
MILLS
Maybe we better wait.
Somerset looks at the photos in his hand. These show Mr. Gould's
corpse in the chair, not covered in any way.
SOMERSET
It should be now. There may be something
we're not seeing.
MRS GOULD
Wait. Here...
MILLS
What is it?
Mrs. Gould points at the modern art painting on the wall in one
photo. The painting is just splattered paint, abstract.
MRS GOULD
This painting...
MILLS
What?
MRS GOULD
Why is this painting hanging upside-down?
Mills turns to look at Somerset.
INT. LAW OFFICE -- NIGHT
Where the greed murder took place. Somerset, wearing gloves,
reaches to take the modern art painting off the wall. Mills
near, watching.
SOMERSET
You're sure your men didn't move this?
MILLS
Even if they did, those photos were taken
before forensics.
Nothing on the wall behind the painting. Blank space.
MILLS
Nothing.
SOMERSET
It's got to be.
Somerset puts the painting down, resting it on its bottom edge.
The painting is backed by a thick sheet of brown papers stapled
into the wooden frame. Somerset points to where the wire's eye
screws used to be screwed into the frame, and to where it has
been rescrewed.
SOMERSET
He changed the wire to rehang it.
Somerset takes out his switchblade. Mills is surprised.
MILLS
What the fuck is that?
SOMERSET
A switchblade.
Somerset cuts along the edge of the brown paper to get to the
hollow space between it and the back of the canvas. He cuts out
the entire sheet. Mills helps pull it away. Nothing. Empty.
Mills looks at both sides of the paper, then tosses it away.
MILLS
Nothing. Damn it!
Somerset lays the painting face up on the floor. He pokes his
finger on the painted surface. He brings the flat of his blade
against the painting, tries to peel some of the paint.
MILLS
The killer didn't paint the fucking thing.
Give it up.
Somerset pushes the painting away, frustrated.
SOMERSET
There must be something.
MILLS
We're screwed. He's fucking with us.
Somerset backs away from the wall, staring at the space where the
painting hung. There is only a nail. He turns, looking around
the office, then crosses.
Mills puts his hands to his temple, furious, picks up a lamp and
throws it to the floor, venting.
MILLS
Motherfucker!
Across the room, Somerset falls to his knees and pulls open a
forensics kit. He takes out a fingerprint brush, examining the
bristles. Mills sees this.
MILLS
What?
SOMERSET
Bear with me.
Somerset goes back to the wall where the painting was. He pulls
over a chair, gets on it and starts brushing near the nail.
MILLS
Oh, yeah, sure. You got to be kidding?!
SOMERSET
Just wait!
Somerset brushes with a few wider strokes. He leans close,
studies the powder residue. Leans closer still. Pause.
SOMERSET
Call the print lab.
INT. MILLS' APARTMENT, BEDROOM -- NIGHT
Tracy is asleep, dressed, with the lights still on. She stirs,
then awakens and sits up slowly. She squints from the light,
sweaty and uncomfortable. She looks around and listens. All she
hears is traffic.
EXT. MILLS' APARTMENT, LIVING ROOM -- NIGHT
FROM OUTSIDE, looking into the apartment, we see Tracy come in
from the bedroom. She sees Mills and Somerset are gone. She
comes to open a window, then goes to the kitchen area.
We're still LOOKING IN at her as she starts the dishes in the
sink. The RUMBLING of the SUBWAY TRAIN is HEARD starting. The
room begins to rattle, as before.
Tracy looks out into the living room, ill at ease.
INT. LAW OFFICE -- NIGHT
The male forensic from the gluttony murder scene is here. He has
a magnifying glass which he's using to study a very clear
fingerprint in black powder on the wall.
MALE FORENSIC
Oh, man...
MILLS (o.s.)
Talk to me.
The male forensic bites his lip, still studying.
Mills and Somerset are watching the forensic who works O.S.
MILLS
(to Somerset)
Just, honestly... have you ever seen
anything like this... been involved in
anything like this?
SOMERSET
No.
MALE FORENSIC (o.s.)
Well, I can tell you, boys...
The forensic steps down from a stool. Behind him, where the
painting once was, are fingerprints, clear and distinct. The
prints have been left, one after the other, to form letters which
form words: HELP ME.
MALE FORENSIC
... just by looking at the shape of the
underloop on these, they are not the
victim's fingerprints.
INT. PRECINCT HOUSE, PRINT LAB -- NIGHT
Dark. A TECHNICIAN sits before an old computer. The computer's
green screen shows enlarged fingerprint patterns being aligned,
compares, and then rejected: whir - click - whir - click - whir -
click. Mills and Somerset watch, bathed in a green glow.
MILLS
He just may be nuts enough.
SOMERSET
It doesn't fit. He doesn't want us to help
him stop.
MILLS
Who the hell knows? There's plenty of
freaks out there doing dirty deeds they
don't want to do. You know... little
voices tell them bad things.
Somerset doesn't buy it. The technician adjusts a knob, then
turns to the detectives.
TECHNICIAN
I've seen this baby take as long as three
days to make a match, so you guys can go
cross your fingers somewhere else.
INT. PRECINCT HOUSE, HALLWAY -- NIGHT
Somerset and Mills come out from the Print Lab. A janitor is
mopping the hall. The computer is HEARD WHIRing AND CLICKing
onwards. Somerset sits with a groan on a couch outside the lab
door. Mills flops beside him.
SOMERSET
You meant what you said to Mrs. Gould,
didn't you? About catching this guy. You
really want to believe that, don't you?
MILLS
And you don't?
SOMERSET
(laughs, very tired)
I wish I still thought like you.
MILLS
Then, you tell me what you think we're
doing.
SOMERSET
All we do is pick up the pieces. We take
all the evidence, and all the pictures and
samples. We write everything down and note
what time things happened...
MILLS
Oh, that's all.
SOMERSET
We put it in a nice neat pile and file it
away, on the slim chance it's ever needed
in a courtroom.
(pause)
It's like collecting diamonds on a desert
island. You keep them just in case you
ever get rescued, but it's a pretty big
ocean out there.
MILLS
Bullshit.
SOMERSET
I'm, sorry, but even the most promising
clues usually lead only to other clues.
I've seen so many corpses rolled away...
unrevenged.
MILLS
I've seen the same. I'm not the country
hick you seem to think I am.
SOMERSET
In this city, if all the skeletons came out
of all the closets... if ever hidden body
were to suddenly rise again, there'd be no
more room for the living.
Somerset slumps back, takes out a cigarette and lights it.
MILLS
Don't tell me you didn't get that rush
tonight... that adrenalin, like we were
getting somewhere.
Mills sits back on the couch, closes his eyes.
MILLS
And, don't try to tell me it was because
you found something that would play well in
a courtroom.
Somerset looks at Mills, who crosses his arms to sleep. Somerset
puffs the cigarette.
The computer is heard: whir - click - whir - click...
INSERT -- TITLE CARD
THURSDAY
INT. PRECINCT HOUSE, HALLWAY -- EARLY MORNING
Mills and Somerset are fast asleep on the couch, leaning against
each other. People pass and look at them strangely. A man steps
in front of the couch. He reaches with both hands to slap their
faces simultaneously.
It's the captain leaning over them.
CAPTAIN
Wake up, Glimmer Twins. We have a winner.
INT. PRECINCT HOUSE, READY ROOM -- EARLY MORNING
A windowless classroom. The captain stands at a podium in front
with a white screen at his side. A mug-shot of a man, VICTOR,
25, is projected onto the screen from a slide projector.
CAPTAIN
He goes by the name Victor, as many of you
know, and his prints were found on scene by
Detectives Mills and Somerset.
FIVE hardened POLICE OFFICERS, four men and one woman, sit in
chairs facing the captain. The all wear bullet-proof vests with
the word POLICE spray-painted across them.
Somerset and Mills sit in back, drinking coffee, still asleep.
CAPTAIN
Now, this guy's a real beauty. He has a
long, long history of serious mental
illness. According the head-shrinkers, it
seems his parents gave him a very strict,
Southern Baptist upbringing, but somewhere
along the line he dropped his marbles.
Two of the cops in the front row are talking.
CAPTAIN
Hey, you two can shut-up now!
The two cops separate like huge, embarassed school children.
CAPTAIN
Thank you, fuckheads. Now, Victor spent a
couple of months in prison for the
attempted rape of an eight year old boy,
but his lawyer made sure he didn't stay
long. Before that, he dabbled in drugs,
armed robbery and assault.
We've been doing our best to keep an eye on
him, but he's been out of circulation for a
while.
FEMALE COP
If he disappeared, what do you want from
us?
CAPTAIN
His last place of residence is still in his
name. A search warrant is being pushed
through the courts as we speak.
A red-headed cop, CALIFORNIA, raises his hand.
CALIFORNIA
So, have the housing cops walk up and ring
the doorbell.
The cops laugh. The captain is clenching his jaw, angry.
CAPTAIN
Listen, California. When you go in, if
Victor isn't home, one of his buddies might
be house-sitting, so you go in guns first.
Besides using, Victor deals, and we know
what kind of crowd he runs with.
There is some chatter amongst the cops.
CAPTAIN
This is what the D.A. has a hard-on for
right now, Ladies and Germs, so we do not
question why.
Mills leans to Somerset while the captain continues the briefing.
They whisper.
MILLS
Does this make it with you?
SOMERSET
Doesn't seem like our man, does it?
MILLS
You tell me. I'm new in town.
SOMERSET
He doesn't have the desire somehow. Our
killer seems to have more purpose. More
purpose than Victor could ever conceive of.
MILLS
The fingerprints.
SOMERSET
Yes. They were there... so, it must be.
MILLS
We'll tag along.
Somerset wants no part of that.
SOMERSET
Why would we?
MILLS
(smiles)
Satisfy our curiosity?
INT. MILLS' CAR -- MORNING
Mills drives, follows a police van. Somerset rides shotgun.
Mills seems pumped and ready. Somerset takes two Rolaids off a
fresh roll and chews them.
MILLS
You ever take one?
Somerset takes out his gun, opens it to check the load.
SOMERSET
Never in my twenty-four years, knock on
wood. I've only ever taken my gun out five
times with the actual intention of using
it. Never fired it though. Not once.
(closes his gun)
You?
MILLS
Never took a bullet. I pulled my gun once.
fired it once.
SOMERSET
And?
MILLS
It was my first one of these. We were a
secondary unit, and I was pretty shaky
going in. I was still considered a rookie.
Mills takes a corner, tires screeching.
MILLS
We busted the door, looking for this
junkie, right? The geek just opened fire.
Another cop was hit in the arm and he went
flying... like in slow motion.
(pause)
I remember riding in the ambulance. His
arm was like Jello. A piece of meat. He
bled to death right there.
A pause.
SOMERSET
How did the fire fight end?
MILLS
I got him. I got the son-of-a-bitch.
See, I was doing really good up till then.
Lots of street busts. I've always had this
weird luck... everything always went my
way, but this was wild.
(pause)
I got him with one shot... right between
the eyes. Next thing I know, the mayor's
pinning a medal on me. Picture in the
paper, whole nine yards.
Somerset unrolls the window, feels the air across his face.
SOMERSET
How was it?
MILLS
I expected it to be bad, you know. I took
a human life... but I slept like a baby
that night. I never gave it a second
thought.
SOMERSET
I think Hemingway wrote somewhere... I
can't remember where, but he wrote that in
order to live in a place like this, you
have to have the ability to kill. I think
he meant you truly must be able to do it,
not just faking it, too survive.
MILLS
Sounds like he knew what he was talking
about.
INT. SLUM BUILDING, STAIRWELL -- MORNING
The five cops from the briefing, fully geared up and ready,
rifles and handguns out, move quickly up the stairs in single
file. Somerset and Mills follow, guns out. Somerset is sweating
bullets. Mills is wild eyed, juiced.
Crack viles and hypodermic needles on the stairs crunch under the
cops' heavy boots.
INT. SLUM HALLWAY -- MORNING
The cops enter the dank hall. The move cautiously. A man is
lying on the floor, looking up, helpless, with dead eyes.
A door opens and a woman peeks out. The female cop points her
gun and the door slams. California, leading the group, steps up
to apartment 303. He has a search warrant scotch-taped to the
front of his bullet-proof vest.
CALIFORNIA
(to black cop)
This is it. Give it up.
The black cop hoists a heavy battering ram to California. The
other cops get on both sides of the door. Somerset and Mills
hang back a few feet, watching their backs.
BLACK COP
(points to Mills)
Cops go before Dicks.
Many people are sticking their heads out of doors in the hall.
CALIFORNIA
Police! Open the door!!
California brings the ram forward with a splintering THUD -- once
-- twice -- the door flies open. The cops storm in.
INT. SLUM APARTMENT, MAIN ROOM -- MORNING
The apartment is incredibly dusty. The cops charge down the
short hall into this room where a bed sits against the far wall.
California moves up to the bed. Someone lies under the sheets.
Three other cops move, all training their weapon on the bed.
CALIFORNIA
Good morning, sweetheart!
A blond cop goes into another room. California moves closer to
the bed, gun up.
CALIFORNIA
Get up, now, motherfucker! NOW!
INT. SLUM APARTMENT, ADJOINING ROOM -- MORNING
The blond cop enters, gun trained, looks around in confusion.
The room's tables, chairs and floor are covered with hundreds of
colorful, plastic air fresheners.
INT. SLUM APARTMENT, MAIN ROOM -- MORNING
Mills and Somerset enter. Somerset looks at the cops around the
bed, then looks at a nearby wall. His mouth drops in horror. On
the wall, written in excrement: SLOTH.
SOMERSET
Jesus...
California kicks the bed, enraged.
CALIFORNIA
I said get up, Sleepyhead!
He pulls the sheets off the bed and reveals the shriveled,
sore-covered form of a man who is blindfolded and tied to the bed
with a thin wire which has been wrapped time and time again
around the mattress and bed frame. Tubes runs out from a stained
loincloth around the man's waist and snake under the bed.
CALIFORNIA
Fuck me!
Mills pushes past the other cops.
MILLS
Holy shit.
The cops recoil from the stench. Somerset steps up, putting his
gun away.
SOMERSET
Victor?
BLACK COP
What the hell... ?
CALIFORNIA
(to Somerset)
Check this out, Dick...
California points with his gun to the end of the man's right arm.
The hand is gone, severed at the wrist long ago.
MILLS
It is Victor.
SOMERSET
(points to a cop)
Call an ambulance.
The blond cop enters from the other room.
BLOND COP
What the fuck is this?
CALIFORNIA
Somebody call a hearse, more like.
The female cop has gone to one wall where a sheet is pinned up.
She pulls the sheet down. Pinned behind the sheet are fifty-two
Polaroid pictures; all pictures of Victor tied to the bed, with a
date written at the bottom of each picture. It is a visual
history of Victor's physical decay.
BLOND COP
What is going on?
Mills sees the female cop looking at the pictures.
MILLS
Hey, California, get your people out.
Somerset takes out rubber gloves and puts them on.
CALIFORNIA
You heard him. Hit the hall, and don't
touch anything.
Somerset replaces the sheet over Victor, but not over his head.
The cops file out and Mills goes to examine the pictures.
California stays by the bed with Somerset.
CALIFORNIA
It looks like he's some kind of friggin'
sculpture or something.
Somerset places his finger along Victor's throat.
MILLS
Somerset, you... you better look here.
Mills looks at the photos in awe. Somerset joins him.
MILLS
All pictures of Victor tied to the bed.
(crouches, points)
The last one is dated three days ago.
Somerset looks at the first photo. In it, Victor is bound and
gagged, but he is healthy.
SOMERSET
The first one... it's dated one year ago.
To the day.
Somerset wipes his pale face.
Californian stands by the corpse, behind Somerset and Mills. He
lifts the sheet on the bed to look under it.
CALIFORNIA
Mother...
Mills kneels and lifts the sheet which had covered the pictures
off the floor. There is an open shoebox underneath.
MILLS
What...?
On the side of the box: TO THE DETECTIVES, FROM ME.
California leans close to Victor's gaunt, blindfolded face,
examining with morbid curiosity.
CALIFORNIA
You got what you deserved, Victor.
Somerset leans down beside Mills. Mills looks through the
shoebox. Inside are plastic, zip-lock bags.
One contains small clumps of hair. One contains a yellow
liquid...
MILLS
(looking at bags)
A urine sample, hair sample... stool
sample. Finger nails...
(looks to Somerset)
He laughing at us.
California is still close to Victor's face, when suddenly
Victor's lips twist open and Victor lets out a loud, guttural
bark.
California jerks back, shouting in fear, falling over a chair to
to the floor.
Mills and Somerset reel. They see California on the ground,
scared out of his mind, pointing.
CALIFORNIA
He's alive!
Somerset and Mills look towards the bed.
Victor's lips move feebly as he lets out a sick, gurgling moan.
CALIFORNIA
He's still alive!!
EXT. SLUM APARTMENT BUILDING -- MORNING
A crowd has gathered at the entrance. Mills' car, the police van
and two ambulances are parked on the sidewalk.
INT. SLUM HALLWAY -- MORNING
The cops are in the hall holding neighbors at bay.
INT. SLUM APARTMENT, MAIN ROOM -- MORNING
Three ambulance attendants are at the bed, working on Victor.
One attendant uses wire cutters to clip Victor's bonds.
INT. SLUM STAIRWELL -- MORNING
Mills and Somerset are standing in the middle of one flight of
stairs. Both are highly agitated.
SOMERSET
The way this has gone till now, I wouldn't
have thought it was possible, but we may
have underestimated this guy.
MILLS
I want him bad. I don't just want to catch
him anymore. I want to hurt him.
SOMERSET
Listen to me. He's all about playing
games.
MILLS
No kidding! No fucking kidding!
SOMERSET
We have to divorce ourselves from emotions
here. No matter how hard it is, we have to
stay focused on the details.
MILLS
I don't know about you, but I feed off my
emotions.
SOMERSET
He'll string us along all the way if we're
not careful.
Mills is looking at the floor, still burning. Somerset grabs him
by the jacket.
SOMERSET
Are you listening to me?
Mills pushes Somerset's hand off.
MILLS
I hear you.
There is a sudden, brilliant FLASH OF LIGHT and the SOUND of a
CAMERA ADVANCING. Mills and Somerset look.
Down the stairs, a REPORTER has his camera up, pointed at them.
REPORTER
Say cheese.
He take another picture, flashbulb flashing.
Mills goes down the stairs, grabs the reporter, a balding, almost
silly looking man with thick glasses and wrinkled clothing.
MILLS
What the fuck are you doing here?
The reporter squirms, holds up a laminated press pass on a cord
around his neck.
REPORTER
I have a right, Officer. I...
Mills shoves him, and the reporter stumbles a few steps, then
falls to the landing below with a thud.
MILLS
That doesn't mean anything! This is a
closed crime scene!
Somerset comes to pull Mills back. The shaken reporter stands
uneasily.
REPORTER
You can't do this! You can't...
MILLS
Get the fuck out of here!
The reporter scrambles down the nest flight, out of sight.
REPORTER (o.s.)
The public has a right to know!
Somerset yanks Mills back harder, till Mills sits on the stairs.
MILLS
How do those cockroaches get here so quick?
SOMERSET
They pay cops for the inside scoop, and
they pay well.
MILLS
(calming)
Sorry about that... I just...
SOMERSET
(sarcastic)
Oh, it's alright.
Somerset starts back up the stairs.
SOMERSET
It's always impressive to see a man feeding
off his emotions.
INT. HOSPITAL ROOM -- DAY
Somerset and Mills are with DOCTOR BEARDSLEY. Victor lies inside
an oxygen tent with tubes running into him. The room is dim.
DOCTOR
A year of immobility seems about right,
judging by the deterioration of the muscles
and the spine. Blood tests show a whole
smorgasbord of drugs in his systems; from
crack to heroin... even an antibiotic which
must have been administered to keep the bed
sores from infecting.
Mills looks into the oxygen tent.
MILLS
He hasn't said anything, or tried to
express himself in any way?
DOCTOR
Even if his brain were not mush, which it
is... he chewed off his own tongue long
ago.
Mills winces, moves away from the bed.
SOMERSET
There's no way he'll survive?
DOCTOR
Detective, he'd die right how of shock if
you were to shine a flashlight in his eyes.
Silence for a moment, then the doctor lets out a chuckle.
DOCTOR
It's funny to think... he's experienced
about as much pain and suffering as anyone
I've encountered... give or take... and he
still has hell to look forward to.
He chuckles again, engrossed in some information on a clipboard.
Mills looks to Somerset like, "this guy's nuts."
INT. PRECINCT HOUSE, SOMERSET'S OFFICE -- DAY
A blackboard is nailed to the wall. Written in chalk:
1 gluttony (x) 5 wrath
2 greed (x) 6 pride
3 sloth (x) 7 lust
4 envy
Somerset and Mills are at their paperwork covered desks.
SOMERSET
((reading one sheet)
Victor's landlord says an envelope of cash
was in the office mailbox each month. He
says, quote, "I never heard a single
complaint from the tenant in apartment
three-o-one, and nobody ever complained
about him. He's the best tenant I've ever
had.
MILLS
A landlord's dream tenant: a paralyzed man
with no tongue.
SOMERSET
Who pays the rent on time.
Somerset turns to the typewriter, types. Mills fills out a form
by hand. He make an error and tries to erase, but the paper
rips. He curses, crumples the paper and throws it.
MILLS
I'm sick of sitting around, waiting for him
to kill again.
SOMERSET
This is the job. It's not an Easter egg
hunt.
MILLS
There must be something in this pile of
garbage we can follow. I mean, Christ...
do we have to let this lunatic make all the
moves.
SOMERSET
It's too dismissive to call him a lunatic.
We can't make that mistake.
MILLS
Oh, blah, blah, blah. The guy's insane.
SOMERSET
It's a fine line between insane and
inspired.
MILLS
Hey, Freud, what brand of bullshit are you
shoveling, huh? Right now he's probably
dancing around his room in a pair of his
mommy's panties, singing show tunes and
rubbing himself with peanut butter...
SOMERSET
No.
MILLS
Sooner or later his luck's going to run
out.
SOMERSET
No. He's not depending on luck. You've
seen that. We walked into that apartment
exactly one year after he first tied Victor
to the bed, to the day. To the day!
Because he wanted us to.
MILLS
We don't know for sure...
SOMERSET
Yes we do. Here...
Somerset picks up the photocopy of the first note.
SOMERSET
This quote... his first words to us. I
looked it up. It's from Milton's Paradise
Lost. "Long is the way, and hard, that out
of hell leads up to light... "
MILLS
And so what?
SOMERSET
Well, he's been right so far, hasn't he?
MILLS
Just because the bastard has a library
card, it doesn't make him Einstein.
SOMERSET
Just, realize... this is not some common
lunatic. The type of intestinal fortitude
it must take... to keep a man bound for a
full year. To connect tubes to his
genitals. To sever his hand and use it to
plant fingerprints. He's methodical and
exacting, and worst of all, he's patient.
MILLS
What does all that matter anyway? It's not
our job to figure him out, is it? All we
have to do is catching him.
Something clicks for Somerset. He looks away, thinking.
Mills watches him.
MILLS
What?
Somerset sits. Ponders, staring off into space.
MILLS
What is it?
Somerset stands back up, takes money out of his pockets.
SOMERSET
How much money do you have?
MILLS
I don't know... like fifty.
Somerset picks up the phone and dials, still sifting through his
own money. Mills doesn't know what's going on.
SOMERSET
(to Mills)
I propose a field trip.
INT. PUBLIC LIBRARY -- DAY
Somerset walks through the busy main library, goes to a group of
computer terminals. Mills follows, wound up. Somerset sits at
one computer and works the keyboard, hunt-and-peck.
MILLS
Somerset... what the fuck?
Several people turn to shush him. Somerset takes out a notepad.
SOMERSET
At the top of the list, we'll put
Purgatory, Canterbury Tales... anything
relating to the seven deadly sins. Now,
what the killer might research. What would
he need to study to do the things he's
done? What are his other interests? For
example...
INSERT -- COMPUTER SCREEN
Somerset types. On the screen: SEARCH: JACK THE RIPPER.
EXT. HOT DOG WORLD -- DAY
The restaurant's sign reads: HOT DOG WORLD, HOME OF THE WORLD'S
BIGGEST DOGS. A MAN is trying to give out paper advertisements.
People walk out of their way to avoid him.
MAN
(to people)
Take one, you stupid fucks! Here... take
one! It's a fucking coupon! Take it!
INT. HOT DOG WORLD -- DAY
Mills and Somerset are in a booth, both on the same seat on the
same side of the table. They look over their list of books.
Mills goes to eat a hot dog, but Somerset stops him.
SOMERSET
They had about fifty health violations
during the last inspection.
Mills throws the dog down, looks at his watch.
MILLS
Could you at least sit across from me? I
don't want people to thing we're dating.
Somerset watches a GREASY MAN, wearing a black suit, enter. The
man's hair is slicked back.
SOMERSET
Give me your money.
Mills hands his money to Somerset.
MILLS
I'm handing you this, and for some strange
reason, I have the idea I should know what
the fuck we're doing.
Somerset folds the money with his own into the list of books. He
holds the list in his lap, under the table. Greasy Man comes to
sit at the table.
GREASY MAN
Hey, Somerset. How are you? I didn't know
this was going to be a menage-a-trois.
SOMERSET
It's not a problem.
GREASY MAN
Only for you do I do this. Big risk
here... so I figure we'll be even-up. All
fair and square.
Greasy Man has his hands under the table. he gets up to leave
with his hand in his pocket. He picks up Mills' dog.
GREASY MAN
About an hour.
Greasy Man leaves, eating the hot dog.
MILLS
Well, that was money well spent.
SOMERSET
Let's go.
INT. PIZZA PARLOR -- DAY
Mills and Somerset sit with a pizza before them.
SOMERSET
By telling you this, I'm trusting you more
than I trust most people.
MILLS
It's be best if you got to the point, cause
I'm about ready to punch you in the face.
Somerset leans closer to Mills, speaks quietly.
SOMERSET
It's probably nothing, but even if it is,
it's no skin off our teeth. The man at Hot
Dog World is a friend, in the Bureau.
MILLS
Him?
SOMERSET
For a long time, the F.B.I.'s been hooked
into the library system, keeping accurate
records.
MILLS
What? Assessing fines?
SOMERSET
They monitor reading habits. Not every
book, but certain ones are flagged. Books
about... let's say, how to build a nuclear
bomb, or maybe Mein Kampf. Whoever takes
out a flagged book has their library
records fed to the F.B.I. from then on.
MILLS
You got to be kidding.
SOMERSET
Flagged books cover every topic the Bureau
deems questionable... communism to violent
crime.
MILLS
How is this legal?
SOMERSET
Legal... illegal. These terms don't apply.
I don't applaud it.
Somerset takes a bite of pizza.
SOMERSET
They can't use the information directly,
but it's a useful guide. It might sound
silly, but you can't get a library card
without i.d. and a current phone bill.
Mills is starting to warm to it.
MILLS
So they ran our list.
SOMERSET
If you want to know who's been reading
Paradise Lost, Purgatory, and say... The
Life and Time of Charlie Manson, the
Bureau's computer will tell you. It might
give us a name.
MILLS
Yeah. Some college student who's taking
English 101 and just happens to be writing
a paper on Twentieth Century Crime.
SOMERSET
Yeah, well... at least we're out of the
office. We've got pizza.
MILLS
How do you know all about this?
SOMERSET
I don't. Neither do you.
Somerset looks up. Greasy Man is entering the pizza parlor.
INT. SOMERSET'S CAR -- DAY
The car is parked with Somerset at the wheel and Mills beside.
They're looking through pages of connected computer paper.
MILLS
This is a waste of time.
SOMERSET
We're focusing.
MILLS
I know, I know... focusing on one little
thing.
SOMERSET
(reading aloud)
The Divine Comedy. A History of
Catholicism. A book called Murderers and
Madmen.
He hands the sheets to Mills. Mills looks them over.
MILLS
(reading)
Modern Homicide Investigation. In Cold
Blood. Of Human Bondage. Human Bondage?
SOMERSET
It's not what you think it is.
MILLS
(reads)
The Marquis de Sade and Origins of Sadism.
SOMERSET
That is.
MILLS
(reads)
The Writings of Saint Thomas Aqu...
Aquin...
SOMERSET
Saint Thomas Aquinas.
(starts the car)
He wrote about the seven deadly sins.
INT. TENEMENT BUILDING, STAIRWELL/HALLWAY -- DAY
Somerset and Mills walk up the stairs and turn a corner into this
long hall. Somerset is looking at the computer sheets.
MILLS
You're sure you're reading that right?
John Doe?
SOMERSET
That's what it says. Jonathan Doe.
MILLS
This is stupid. It'd be just too easy.
SOMERSET
We'll take a look at him. Talk to him.
MILLS
Sure. Uh, excuse me... are you by any
chance a serial killer? Oh, you are?
Well, come with us then, if it's okay.
They reach a door, apartment 6A. Somerset knocks.
MILLS
What are you going to say?
SOMERSET
You do the talking. Put that old silver
tongue of yours to work.
MILLS
Who told you about my silver tongue? You
been talking to my wife?
Mills knocks on the door, hard.
MILLS
This is really lame.
A CREAK is HEARD O.S. Somerset turns to look towards it...
A male figure, JOHN DOE, is standing at the stairwell, wearing a
hat and standing in shadow, looking towards them. Stark still.
Somerset furrows his brow.
The John Doe reaches into his coat, lifts his arm, pointing...
SOMERSET
Mills... !
BLAM -- GUNFIRE SOUNDS, deafening, as a bullet slams into door
6A, just missing Somerset as he and Mills hit the floor.
John Doe fires again...
The bullet blows a huge hole in the wall, throwing plaster. A
third bullet follows, just above Mills and Somerset, and John Doe
is heard running back down the stairs.
The gunfire's still echoing, ringing, as Mills gets up and
unholsters his gun.
MILLS
Jesus Christ...
Mills scrambles down the stairwell...
IN THE STARWELL
Mills bounds down stairs, turns a corner and leaps down another
flight. He halts on the landing, listening. John Doe can be
HEARD still RUNNING, below.
IN THE HALL ABOVE
Somerset rolls and takes out his gun. He stands, dazed.
MILLS (o.s.)
(from in stairwell)
What kind of gun was it?
IN THE STAIRWELL
Somerset comes into the stairwell.
MILLS (o.s.)
(from below)
Damn it, Somerset... what kind of gun?!
How many bullets?
BELOW, IN THE STAIRWELL
Mills hurries down more stairs.
SOMERSET (o.s.)
(from above)
I don't know. Might've been a revolver.
Voices echo. Mills loses his footing, falls...
Mills hits the next landing hard, dropping his gun.
MILLS
Fuck!
Mills gets back up and picks up his gun and keeps going.
ABOVE IN THE STAIRWELL
the stairs, breathing hard.
MILLS (o.s.)
(from below)
What's he look like?
SOMERSET
Brown hat. Tan raincoat... like a... like
a trench coat.
BELOW IN THE STAIRWELL
ready, moves to peer over the railing, down into
stairwell's center...
in shadow, aiming his gun straight up...
s SHOT is FIRED from below and the bullet is
ABOVE
Somerset splinters into a million pieces, sends
Somerset ducking for cover.
far below -- the bullet is HEARD RICOCHETING
BELOW
waiting as the gunshot echoes.
MILLS
(to himself)
Five... that's five...
continues down the stairs.
INT. TENEMENT BUILDING, LOWER HALLWAY -- DAY
stairs and into a hallway, falling to one knee,
ing his gun one direction -- empty hallway.
direction, gun hand shaking, catches a
glimpse of John Doe just as he disappears around a corner far
Mills gets up, looking back to the number 2 by
ooks, shouting back towards the stairwell...
MILLS
Second floor! Second floor!
FOLLOW him, tearing ass...
rn, full speed ahead, bringing his gun up...
John Doe's running...
Mills takes aim...
Ahead, between John Doe and Mills, a tenant in t-shirt and
underwear comes out an apartment, looking towards John Doe,
blocking the line of fire...
MILLS
Get down! Move... !
The tenant turns to Mills, confused. Mills pushes angrily
past...
Ahead, John Doe makes an abrupt halt. A woman tenant is looking
out her door and John Doe grabs her and throws her into the hall.
She falls as John Doe shoves his way into her apartment.
BACK AT THE STAIRWELL
Somerset comes down the stairs, tired. He runs.
AROUND THE CORNER, IN THE OTHER HALLWAY SECTION
Mills reaches the apartment Doe entered, bursting in...
INT. TENEMENT APARTMENT -- DAY
Mills enters, gun up. It's a railroad apartment, with all the
rooms adjoining in a row. At the far end of the apartment, John
Doe can be seen moving out one room's window onto a fire escape
just as that room's door is swinging shut.
Mills charges through the apartment, full on...
He bashes through the closed door...
EXT. TENEMENT BUILDING, FIRE ESCAPE -- DAY
Mills leans out the window over an alleyway. BLAM -- GUNSHOT.
The window above Mills' shatters and Mills pulls back.
Mills leans back out, fanning with his gun, searching.
Below, John Doe runs out the alleyway's mouth and rounds a
corner, gone.
Mills curses, scrambling out onto the fire escape, running a few
steps and then vaulting the rail... crashes down on the roof of a
car parked below. The windshield cracks. Mills jumps off and
continues the pursuit...
MILLS
(to himself)
That's six...
EXT. CITY STREET -- DAY
Mills rounds the alleyway corner into people packed streets.
Several people are running, heading several different directions.
Mills comes to a halt, his focus confused, searching desperately.
Others run upon seeing his gun. Woman scream and grab up their
children. Mills can't see far down the sidewalk because of all
the people. He moves forward...
He jumps atop a fire hydrant, gripping a street sign for balance,
trying to see further down the street.
MILLS' P.O.V. -- There he is! John Doe can be seen, far off,
moving across the street, through traffic, to the opposite
sidewalk.
ON THE STREET, Mills runs, into traffic, avoiding cars, down the
center line. Angry drivers scream at him.
Ahead, John Doe glances back, ducking into an alley.
Mills gets to the other sidewalk, yelling for people to get out
of the way...
EXT. CITY ALLEYWAY -- DAY
Mills comes to this tight alleyway. It's dark, with a long,
tall, vertical sliver of daylight far ahead. Mills runs...
Charging hard onwards...
A two-by-four swings out from a hidden nook along the side of the
alleyway -- slamming Mills in the face with a THWACK!!
Mills' gun hits the alley wall and clatters into a puddle.
Mills hits the dirt, on his back, nose broken and split, face
bloodied. He cries out, rolling to his side, clutching his face.
The two-by-four is dropped. John Doe's feet cross a short
distance. Doe's hand reaches to pick up Mills' gun. (We never
see John Doe's face.)
Mills still lies on his side, stunned, spitting blood and
cursing, when he feels the barrel of his gun against the side of
his face. Mills freezes.
John Doe moves the gun slowly across Mills' face, till the barrel
reaches Mills' mouth. The barrel is inserted between his lips.
The gun's hammer is pulled back.
Mills quakes, tries to open his eyes, but he's blinded by the
blood from his broken nose. For an instant, there is a sudden,
BRIGHT FLASH of LIGHT.
After a long moment, the gun withdrawals. From O.S., the bullets
fall out of Mills gun onto his chest.
The gun is dropped. John Doe runs towards the sliver of light.
He's gone.
Mills lies for a long moment, gasping. At the alleyway's entrance,
Somerset appears.
SOMERSET
Mills...
Mills rolls, shaken, feeling to pick up the bullets and trying to
rub the blood out of his eyes with his shirt sleeve. Somerset
arrives.
SOMERSET
Are you alright?
MILLS
I'm fine.
SOMERSET
What happened?
Mills gets up, collects his gun and pockets it, then walks past
Somerset, heading back.
SOMERSET
Mills... ?
Mills starts running. Somerset runs to follow.
INT. TENEMENT BUILDING, STAIRWELL/HALLWAY -- DAY
Mills moves from the stairwell, driven, his nose still bleeding,
heading for apartment 6A. Somerset takes Mills arm, but Mills
pulls away and keeps going.
SOMERSET
Wait... just wait.
MILLS
It was him.
SOMERSET
You can't go in there.
Somerset grabs Mills again and Mills shoves him off.
MILLS
The hell I can't! We get in there and we
can stop him.
SOMERSET
We need a warrant.
MILLS
We have probable cause now.
Somerset grabs Mills and shoves him against the wall.
SOMERSET
Think about it...
MILLS
What the fuck is wrong with you?
SOMERSET
Think about how we got here!
Somerset holds the computer paper, now crumpled in his hand. He
waves it in Mills' face as Mills struggles.
SOMERSET
We can't tell anyone about this. We can't
tell them about the Bureau, so we have no
reason for being here.
Mills stops struggling, breathing hard, seething, trembling.
MILLS
By the time we clear a warrant someone else
is going to be dead.
SOMERSET
Think it through. If we leave a hole like
this, we'll never prosecute. He'll walk.
(pause)
We have to come up with some excuse for
knocking on this door.
MILLS
Okay... okay... get off.
Somerset releases Mills. Mills looks around the hall, then goes
right to door 6A and KICKS IT IN -- the door jam splinters and
the door swings open to darkness for a moment before swinging
back, half-shut.
SOMERSET
You stupid son of a...
MILLS
No point in arguing anymore...
Mills strides down the short end of the hall, towards a window.
MILLS
(pointing back)
Unless you can fix that.
Mills stops, looking out the window. It overlooks a weedy,
overgrown courtyard where a THIN VAGRANT lies asleep on the
concrete. Mills turns, looking back to Somerset.
MILLS
How much money do we have left?
INT. TENEMENT BUILDING, STAIRWELL -- EARLY EVENING
On a stairwell landing, Somerset watches the thin vagrant from
the courtyard talk to a uniformed POLICEMAN who writes on a
clipboard, taking the statement.
THIN VAGRANT
So, I... I noticed this guy going out...
going out a lot when those murders were
happening. So... so I...
The vagrant's clinging to the rail, drunk and out of it. Mills
is down further on the stairs, high strung, chomping at the bit
to get this over with.
MILLS
So, you called Detective Somerset, right?
THIN VAGRANT
Yeah, I... I called the detective.
Because, because this guy seemed... creepy.
And... and...
MILLS
(urging him on)
And...
THIN VAGRANT
And, one of the murders was over there...
over... nearby here. I... I called the
cops...
The vagrant wipes drool from his lips. Mills comes to grip him
so he doesn't fall, searching the policemen's face for suspicion.
MILLS
I told you the rest. You got it?
POLICEMAN
(still writing)
Yeah, whatever.
SOMERSET
Have him sign it.
The policeman holds the clipboard and pen out to the vagrant.
Mills takes the pen and guides the vagrant's hand, almost signing
it for him.
MILLS
Great. Is that it?
The policeman nods. Mills grips the vagrant and leads him down
the stairs in a hurry, around a bend. Mills looks up to be sure
they're out of the policeman's sight, takes out a wad of cash and
shoves it in the vagrant's pocket.
MILLS
Go drink yourself happy.
Mills quickly guides the vagrant on his way, then turns and
rushes up the stairs, taking them two at a time.
INT. JOHN DOE'S APARTMENT, MAIN ROOM -- EARLY EVENING
Mills pushes door 6A open, putting on rubber gloves. He steps in
with Somerset behind. Somerset turns back to the policeman.
SOMERSET
(to policeman)
Wait outside.
Somerset closes the door most of the way. Mills hits a switch on
the wall and a lamp illuminates a desk. The desk is in the
center of the room, facing them. The room is bizarre, with some
areas cluttered and others barren. All the walls are painted
black. All the large, curtainless windows are painted over.
Somerset puts on his gloves. Mills walks to the desk.
The desktop is rather tidy. The only blatantly strange thing is
a set of notches carved into the wooden surface: three notches.
A candle has been allowed to burn down at one corner of the desk
and the wax trail goes all the way to the floor. Mills opens the
middle desk drawer. It's empty except for The Holy Bible.
Somerset moves along shelves of books, looking at the spines.
Lots of thick, oversized art volumes. A HISTORY OF THEOLOGY.
HANDBOOK OF FIREARMS. HISTORY OF THE WORLD. SUMMA THEOLOGICA.
UNITED STATES CRIMINAL LAW REVIEW.
At the desk, Mills opens another drawer. It's filled with at
least forty empty aspirin bottles. He opens the next drawer and
finds a rosary and several boxes of bullets.
Somerset comes to look at John Doe's "bed." No mattress. It's
only a metal frame and springs with a sheet spread across it.
The sheet is sweat stained and dotted by stains of rust at many
points where springs have worn through.
Somerset walks around the bed to a narrow table not far away
against the wall. The table contains a strange tableau, like a
mini stage, hand-made of cardboard and pasted Communion wafers.
A human hand immersed in a jar of liquid is the centerpiece.
SOMERSET
(quiet, to himself)
Victor.
Above this, on the wall, there's a clutter of pinned up articles
about the seven deadly sins, pages from art books, pencil
drawings of Christ, all tight together and overlapping.
Mills picks up a small piece of paper from a letter holder. It's
a pink receipt from WILD BILL'S LEATHER SHOP.
Written: CUSTOM JOB. $502.64. PAID IN FULL. Mills puts the
receipt back down on the desk.
Somerset walks to a black door. Opens it.
INT. JOHN DOE'S APARTMEN, ROOM TWO -- EARLY EVENING
Somerset enters. A ceiling light is on. Bare bulb. There are
bookshelves on three walls, filled with notebooks. Thousands and
thousands of notebooks.
Somerset takes one notebook down. It is a thick composition book
with an unlabeled cover. Inside, the pages are filled with small
handwritten sentences, thumb-nail sketches and blurry, glued in
photographs; small photos, seemingly cut from contact sheets.
the sketches, pictures and writings takes up ever single inch.
Somerset takes down another notebook and flips through the pages.
Same as the first, filled to the brim.
Somerset crosses to another shelf and pulls another notebook.
Same deal. Somerset looks around.
SOMERSET
Jesus.
INT. JOHN DOE'S APARTMENT, MAIN ROOM -- EARLY EVENING
Mills moves from the desk to a hall. He tries a light switch,
but it does nothing. He walks...
It's dark. A rather long hall. The only light is a red glow
seeping from under the bottom of the closed door ahead.
INT. JOHN DOE'S APARTMENT, ROOM TWO -- EARLY EVENING
Somerset walks to a 16mm film projector. It sits facing a
battered white screen. Somerset turns the projector on, backing
away to switch off the bare bulb above.
INT. JOHN DOE'S APARTMENT, HALL -- EARLY EVENING
Mills reaches the door at the end of the hall. He turns the knob
and pushes the door open. He's bathed in red light.
INT. JOHN DOE'S APARTMENT, BATHROOM -- EARLY EVENING
Mills enters. He looks around, slowly. Stunned.
INT. JOHN DOE'S APARTMENT, ROOM TWO -- EARLY EVENING
The projector is clattering in the dark, running a piece of film
through. The film is spliced to run as a non-stop loop.
Somerset watches the screen, light strobing across him.
The screen shows a bright image of clouds drifting, with strange
superimposed angels in flowing robes floating jerkily. It's like
a weird, old Hollywood version of Heaven.
The images switch abruptly to fire and tormented souls laboring
around a pit of molten goo, where more tormented humans squirm.
Like Heaven, it's a scratched piece of film from Hollywood's
early days.
MILLS (o.s.)
Somerset!
Somerset is engrossed in the images.
MILLS (o.s.)
Somerset... come here!
Somerset hears him.
INT. JOHN DOE'S APARTMENT, HALL/BATHROOM -- EARLY EVENING
Somerset comes down the hall.
MILLS (o.s.)
We had him, damn it.
Somerset reaches the bathroom where Mills stands looking up at
the wall. The room has been converted into a dark room lit by
red bulbs, with strips of film hanging from the ceiling.
SOMERSET
What are you talking about?
MILLS
We had him.
There are hundreds of prints on the walls and hanging from drying
wires. Somerset looks around, trying to understand...
Pictures of John Doe's victims, alive and dead. Grotesque
photos, of their pleading faces, and their dead bodies. Close
shots of eyes, fingers and mouths.
Mills sits on the closed toilet, throwing something into the
nearby sink and resting his head in his hands.
MILLS
The pass was a fake.
In the sink -- it's a laminated press pass on a neck cord.
On the walls, more pictures: of the crime scenes, but from the
outside looking in. Long shots. Police cars. Ambulances.
Uniformed officers putting up police barrier ribbons outside
buildings. The coroner's wagon.
Somerset stares at them, taking them in, realizing...
MILLS
We had him and we let him go.
In the backgrounds of the pictures: Somerset and Mills. In
another: Mills crossing the street. In another: Somerset and
Mills getting out of Somerset's car.
One photo, close shot, shows Mills and Somerset on the stairwell
of the building where Victor's body was found. It is the
picture taken by the balding, almost silly looking reporter.
INT. JOHN DOE'S APARTMENT, MAIN ROOM -- NIGHT
A male forensic uses tongs to remove Victor's hand from the jar
of liquid. He places the hand in a clear plastic evidence bag.
The forensic walks away with the hand, past a FEMALE SKETCH
ARTIST who puts the finishing touches on an accurate drawing of
the balding, almost silly looking reporter who wears thick
glasses, now known as John Doe.
SKETCH ARTIST
You're sure this is him?
Mills stands over the sketch artist. Two deputy detectives, SARA
and BILLY, are at work along with two other forensics searching,
photographing and dusting.
MILLS
Just put it in circulation.
SKETCH ARTIST
You got it. Tomorrow morning, this city's
good citizens will be on the lookout for
Elmer Fudd.
SARA
(coming to Mills)
We can't find anything to hang on to. No
paystubs, no appointment books or
calendars. Not even an address book. And,
you're not going to believe this...
MILLS
Keep looking.
SARA
It's just... we haven't found any
fingerprints yet. Not a single one.
MILLS
You know, you're right, I don't believe
you. Keep looking.
Mills walks away.
INT. JOHN DOE'S APARTMENT, ROOM TWO -- NIGHT
Somerset and three uniformed officers are looking through the
notebooks on the shelves. Somerset squints at the notebook in
his hand, shaking his head as he reads. Mills enters.
Somerset looks up and closes the notebook.
SOMERSET
We could use about fifty more men here.
MILLS
I'm trying, alright? Just tell me what
we've got.
Somerset pauses briefly at Mills' abruptness.
SOMERSET
Well, there are at least five thousand
notebooks in this room, and near as I can
tell, each notebook contains two hundred
and fifty pages.
MILLS
Then, he must write about these murders.
SOMERSET
(opens notebook, reads)
"What sick, ridiculous, puppets we are, and
what a gross, little stage we dance on.
What fun we have, dancing and fucking, not
a care in the world. Not knowing that we
are nothing. We are not what was
intended."
Somerset turns a few pages.
SOMERSET
(reads)
"On the subway today, a man came to me to
start a conversation. He made small talk,
this lonely man, talking about the weather
and other things. I tried to be pleasant
and accommodating, but my head began to
hurt from his banality. I almost didn't
notice it had happened, but I suddenly
threw up all over him. He was not pleased,
and I couldn't help laughing."
Somerset closes the notebook.
SOMERSET
No dates indicated, placed on the shelves
in no discernible order. It's just his
mind poured out on paper. I don't think
it's going to give us any specifics.
MILLS
Looking around... I've got a bad feeling
these murders are his life's work.
A PHONE is HEARD RINGING in another room. Mills looks.
INT. JOHN DOE'S APARTMENT, MAIN ROOM -- NIGHT
Everyone's looking around, and at each other, trying to find the
source of the RINGING. Mills and Somerset enter, baffled. Mills
looks to Sara. She shrugs and shakes her head.
Everyone searches. PHONE RINGS.
Mills gets on his hands and knees.
MILLS
Here...
Mills crawls under John Doe's "bed." He comes back out with a
rotary phone. Someone throws him a micro-cassette recorder.
Mills turns the recorder on, makes sure it's running, then picks
up the phone with the recorder to the earpiece.
MILLS
(into phone)
Hello.
JOHN DOE (v.o.)
(from phone)
I admire you. I don't know how you found
me, but imagine my surprise. I respect you
detectives more every day.
MILLS
(into phone)
Okay, John, let's...
JOHN DOE (v.o.)
(from phone)
No, no, no! You listen. I'll be back on
schedule tomorrow, even with this setback.
I just had to call and express my
admiration. I'm sorry I had to hurt you
today, but I didn't have a choice. You
will accept my apology, won't you?
Mills says nothing, containing his anger.
JOHN DOE (v.o.)
I feel like saying more... but I don't want
to ruin the surprise.
John Doe hangs up. Mills puts down the phone.
INT. JOHN DOE'S APARTMENT, ROOM TWO -- LATER NIGHT
Mills and Somerset stand in the dark, watching the continuous
loop projector's strange images of Heaven and Hell.
MILLS
You were right.
Somerset looks at Mills.
MILLS
He's preaching.
SOMERSET
(nods)
These murders are his masterwork. His
sermon to all of us. To all us sinners.
The door opens and light bursts in. The captain stands there,
looking them over.
CAPTAIN
It's been a long day, kids. Go home. Just
make sure you sleep with the phone between
your legs.
INT. SOMERSET'S APARTMENT, BEDROOM -- NIGHT
Somerset winds his metronome. PHONE RINGS. Somerset does not
want to answer it, but does.
SOMERSET
(into phone)
Hello.
TRACY (v.o.)
(from phone)
Hello, William? It's Tracy.
SOMERSET
(into phone)
Tracy, is everything alright?
TRACY (v.o.)
Yes, yes, everything's fine.
SOMERSET
Where's David?
TRACY (v.o.)
He's in the shower, in the other room. I'm
sorry to call like this.
SOMERSET
It's alright, I guess.
TRACY (v.o.)
I, um... I need to talk to you. I need to
talk to someone. Can you meet me
somewhere... maybe tomorrow morning?
SOMERSET
I really don't understand.
TRACY (v.o.)
I feel stupid, but you're the only person I
know here. There's no one else...
SOMERSET
I just...
TRACY (v.o.)
Can't you get away, for a little while?
SOMERSET
I don't know, with this case.
TRACY
If you can, please call me. Please. I
have to go now... goodnight.
Tracy hangs up. Somerset looks at the phone, wondering.
INSERT -- TITLE CARD
FRIDAY
INT. COFFEE CAFE -- MORNING
Somerset sits in the window booth with Tracy. The cafe is noisy.
Tracy stares into her coffee while she stirs it.
TRACY
I mean, you known this city. You've been
here for so long.
SOMERSET
It's a hard place.
TRACY
I don't sleep very well.
Somerset is trying to be understanding, but sneaks a look at his
watch.
SOMERSET
I feel strange being here with you...
without David knowing.
TRACY
I'm sorry, I only...
Two young punks step up to the window outside and look in at
Tracy. One flicks his tongue rapidly. Tracy looks away.
Somerset takes out his badge and holds it against the window.
One punk gives the finger and the other spits on the window.
They leave, laughing. Tracy tries to smile.
TRACY
Perfect example.
SOMERSET
You have to put blinders on sometimes.
Most times.
TRACY
I don't know why I asked you to come.
SOMERSET
Talk to him about it. He'll understand if
you tell him how you feel.
TRACY
I can't be a burden, especially now. I
know I'll get used to things. I guess I
wanted to know what someone who's lived
here thinks. Upstate, it was a completely
different environment.
(pause)
I don't know if David told you, but I teach
fifth grade, or did.
SOMERSET
He mentioned it.
Tracy seems very upset, near tears.
TRACY
I've been going to some of the schools,
looking for work, but the conditions here
are... horrible.
SOMERSET
You should look into private schools.
TRACY
I don't know...
Tracy looks up, wipes at her eyes.
SOMERSET
What's really bothering you?
Tracy bites her lip.
TRACY
David and I are... going to have a baby.
Somerset sits back, the expression of soothing concern on his
face disappearing.
SOMERSET
Oh, Tracy... I have to tell you, I'm not
the one to talk to about this.
TRACY
I hate this city.
Somerset sighs. He takes out a cigarette, but thinks better of
it and puts it back. He looks out the window.
SOMERSET
If you're thinking...
(pause)
I had a relationship once, very much like a
marriage. And, she was going to have our
child. This is a long time ago. She and I
had decided we were going to make the
choice together... whether to keep the
baby.
Tracy looks at Somerset.
SOMERSET
Well, I got up one morning and went to
work... just like any other day, except it
was my first since hearing about the baby.
And, I... I felt this fear and anxiety
washing over me. I looked around, and I
thought, how can we raise a child
surrounded by all this? How can a child
grow up here?
(pause)
So, that night, I told her I didn't want us
to have it, and over the next few weeks, I
convinced her it was wrong. I mean... I
wore her down, slowly.
TRACY
I want to have children. It's just...
SOMERSET
I can tell you now, I know... I'm positive
I made the right decision. I'm positive.
But, there's never a day that passes that I
don't wish I had decided differently.
Somerset reaches and takes Tracy's hand.
SOMERSET
If you... don't keep the baby, if that's
what you decide, then, never tell him you
were pregnant. I mean that. Never.
(pause)
The relationship will whither and die.
Tracy nods, tears welling up again. Somerset smiles a bit.
SOMERSET
But, if you do decide to have the baby,
then, at that very moment, when you're
absolutely sure, tell David. Tell him at
that exact second, and then spoil that kid
every chance you get.
There are tears in Somerset's eyes.
SOMERSET
That's all the advice I can give you,
Tracy. I don't even know you.
He smiles again, wipes his own tears.
TRACY
William...
Somerset's beeper begins BEEPING. He takes it out and stands,
wanting to leave. Tracy gets up and kisses him on the cheek.
TRACY
Thank you.
Somerset starts to back away.
TRACY
Keep in touch after you're gone, William.
Please.
Somerset nods, raises a hand to say goodbye as he leaves.
INT. WILD BILL'S LEATHER SHOP -- DAY
Mills and Somerset are on one side of the counter and WILD BILL
is on the other. Wild Bill is shirtless and covered in tattoos.
He has a thick scar running down the center of his forehead and
down his cheek. leather belts, whips and jackets hang on the
walls and from the ceiling.
WILD BILL
Yeah, he picked it up last night.
Wild Bill holds the pink receipt from John Doe's apartment.
MILLS
This was definitely him?
Mills points to the rendering of John Doe he holds.
WILD BILL
Yeah, John Doe. Easy name to remember.
SOMERSET
What was this job you did for him?
WILD BILL
I got a picture of it here. It's a real
sweet piece...
Wild Bill pulls a box from behind the counter, digs in it.
WILD BILL
I figured he must be one of those
performance artists. That's what I
figured.
Like one of those guys who pisses in a cup
on stage and drinks it. Performance art.
Wild Bill hands a Polaroid picture to Mills. We do not see the
picture yet.
MILLS
Oh... give me a break.
WILD BILL
I think I undercharged him.
SOMERSET
(looks at photo)
You built this for him? You build this?
WILD BILL
I've built weirder shit than that. So
what?
A POLICEMAN enters the store.
POLICEMAN
Detectives... we have a situation.
Mills and Somerset follow the cop out.
WILD BILL
Hey, my picture... !
Wild Bill watches them go, scratches his thick scar.
WILD BILL
Fucking pigs.
EXT. THE HOT HOUSE MASSAGE PARLOUR -- DAY
It's a madhouse outside The Hot House, a bright red storefront
bordered on both sides by porno theater after porno theater. A
crowd is gathered around a police action in progress.
Cops have formed a barrier, holding back the crowd and creating
an aisle from the entrance of The Hot House to the back of a
jail-van. Cops and detectives are escorting various men, women
and transvestites into the large vehicle. The crowd, consisting
of the dregs of society, is shouting. Some people are spitting
and throwing trash at the cops.
INT. THE HOT HOUSE, RECEPTION AREA -- DAY
TWO COPS are in front of a glass and steel cage. Inside the cage
is a fat, BALD MAN with a wall of sex toys behind him.
BALD MAN
Just wait! Just wait!
One cop pounds his nightstick against the glass.
COP
Get out of the fucking booth!
BALD MAN
Just wait! I'll come out, just wait!
INT. THE HOT HOUSE, CORRIDORS -- DAY
All the lights are red and the walls are painted red. Mills and
Somerset follow a THIRD COP through the twisting corridors.
POLICEMEN can be HEARD SHOUTING and MAKING ARRESTS. ROCK MUSIC
PLAYS, throbbing. They come to a door.
THIRD COP
I don't want to go in there again.
INT. RED ROOM -- DAY
Mills and Somerset enter. ROCK MUSIC CONTINUES, LOUD. A strobe
light flashes from the ceiling. TWO AMBULANCE ATTENDANTS are in
the room. The first attendant is placing a sheet over a bed,
hiding the corpse of a blonde woman. The second attendant is
trying to examine the pupils of a CRAZED MAN, 55, who is naked
and wrapped in a sheet. A SWEATING COP holds crazed man down.
CRAZED MAN
He... he... he made me do it!
SECOND ATTENDANT
I have to look at you. I have to look at
you!
LUST is scratched into the red paint on the wall in big letters.
Mills and Somerset move towards the covered body.
FIRST ATTENDANT
(to Mills and Somerset)
You're not going to want to see this more
than once.
CRAZED MAN
He had a gun! He made me do it!
The sheet is lifted for the detectives. They grimace at what
they see. We do not see. Somerset closes his eyes and turns
away. The first attendant replaces the sheet.
Mills steps back, takes out his handkerchief and sucks on it. He
looks at the crazed man. The crazed man jerks around while the
second attendant preps a needle.
SECOND ATTENDANT
He's in shock, man. He's gone.
CRAZED MAN
Take this thing off me... take it off!
Please, take this thing off me!
The sweating cop keeps his controlling grip on the crazed man.
CRAZED MAN
Get it off... oh, God!
SWEATING COP
(to Mills and Somerset)
You're the detectives, right? Right?
Well, you'd better see this!
Somerset's facing the wall. Crazed man's still yelling.
SWEATING COP
Hey... you better see what's strapped onto
this guy!
Mills turns to the cop.
MILLS
We've already seen it!
INT. SANATORIUM, WHITE ROOM -- DAY
A Polaroid photograph on a white table. It is the photo Wild
Bill gave to Mills. It's a picture of a belt, made with extra
leather straps so it can be worn securely around the groin. It
is a strap-on phallus, except there is no plastic protuberance.
Instead, there is a metal knife -- it's a strap-on butcher's
knife.
CRAZED MAN
And... and... and he said... he asked me if
I was married. And, I could see he had a
gun in his hand.
SOMERSET
Where was the girl?
CRAZED MAN
What? What?
SOMERSET
Where was the prostitute? Where was she?
The crazed man leans forward in his chair.
CRAZED MAN
She was... she was on the bed. She was
just sitting on the bed.
SOMERSET
Who tied her down? You or him?
CRAZED MAN
He had a gun. He had a gun... and he made
it happen. He made me do it!
(sobbing)
He made me put that... that thing on. Oh,
Christ! He made me wear it... and... and
he told me to fuck her. He had the gun in
my mouth.
The man slides to the floor and hides his face in his hands.
CRAZED MAN
The gun was in my throat!
Somerset looks up at the mirror in his room. He stands and picks
up the Polaroids as two men in institutional uniforms enter to
collect the crazed man from the floor.
INT. PRECINCT HOUSE, INTERROGATION ROOM -- DAY
Mills stands in this dirty room with the dirty, bald man from The
Hot House's reception area booth.
MILLS
You didn't hear any screams? Nothing? You
didn't notice when this man walked in with
a package under his arm?!
BALD MAN
No, I didn't.
MILLS
You didn't notice anything wrong? Nothing
seemed strange to you?
BALD MAN
Everybody who goes in there has a package
under his arm. Some guys are carrying
suitcases full of stuff. And, screams?
There're screams coming out of there
everyday. It goes with the territory,
little boy!
MILLS
You like what you do for a living? You
like the things you see?
The bald man smiles strangely.
BALD MAN
No. No, I don't. But, that's life.
INT. PRECINCT HOUSE, SOMERSET'S OFFICE -- EARLY EVENING
The blackboard:
1 gluttony (x) 5 wrath
2 greed (x) 6 pride
3 sloth (x) 7 lust (x)
4 envy
Somerset and Mills are shell-shocked, silent, seated at their
desks. Somerset is looking at the blackboard. Mills is looking
at the billboard out the window.
INT. SPORTS BAR -- NIGHT
Somerset and Mills sit with a full pitcher of beer. The jukebox
plays for the other customers. The walls of the bar are covered
with trophies, plaques and other victory symbols.
SOMERSET
The irony is, after a day of the type of
work he did, he'd come home and read me
these morbid crime stories. Murders in the
Rue Morgue. Le Fanu's Green Tea. My
mother would give him hell because he was
keeping me up till all hours.
MILLS
Sounds like a father who wanted his son to
follow in his footsteps.
SOMERSET
One birthday he gave me this brand new
hardcover book, "The Century of the
Detective," by Jurgen Thorwald. It traced
the history of deduction as a science, and
it sealed my fate, because it was real, not
fiction. And, that a drop of blood or a
piece of hair could solve a crime... it was
incredible to me.
Somerset drinks, then pours more beer.
SOMERSET
You know... there's not going to be a happy
ending to this. It's not possible anymore.
MILLS
If we get him, I'll be happy enough.
SOMERSET
No. Face it now. Stop thinking it's good
guys against bad guys.
MILLS
How can you say that? Especially after
today?
SOMERSET
Don't try to focus on things as black and
white, because you'll go blind. There's no
winning and losing here.
MILLS
You're the oldest man I know, Somerset.
SOMERSET
You tell me, then... you walk into an
apartment, and a man has beaten his wife to
death, or the wife murdered the husband,
and you have to wash the blood off their
children. You put the killer in jail. Who
won?
MILLS
You do your job...
SOMERSET
Where's the victory?
MILLS
You follow the law and do the best you can.
It's all there.
SOMERSET
Just know that in this case there's not
going to be any satisfaction. If we caught
John Doe and he were the devil himself, if
it turned out he were actually Satan, then,
that might live up to our expectations. No
human being could do these things, right?
But, this is not the devil. It's just a
man.
MILLS
Why don't you shut the fuck up for a while?
You bitch and complain... if I thought like
you, I would have slit my wrist already.
Somerset sits back, looking at Mills.
MILLS
You think you're preparing me for the hard
times ahead? You think you're toughening
me up? Well, you're not! You're quitting,
fine... but I'm staying.
SOMERSET
People don't want a champion. They just
want to keep playing the lottery and eating
hamburgers.
MILLS
What the fuck is wrong with you? What
burnt you out?
SOMERSET
It wasn't one thing, if that's what you
mean. I just... I can't live here anymore.
I can't live where stupidity is embraced
and nurtured as if it were a virtue.
MILLS
Oh, you're so much better than everyone,
right? No one's worthy of you.
SOMERSET
Wrong! I sympathize completely, because if
you can't win... then, if you don't ignore
everything and everyone around you, you...
you become like John Doe. It's easier to
beat a child than it is to raise it,
because it takes so much work to love. You
just have to make sure you don't stop to
think about the abuse, and the damage,
because you'll risk being sad. Keep
ignoring.
MILLS
You're talking about people who are
mentally ill. You're...
SOMERSET
No I'm not! I'm talking about common,
everyday life here. If you let yourself
worry about one thing, you'll worry about
the next, and the next, and it never ends.
In this place, ignorance isn't just bliss,
it's a matter of survival.
MILLS
Listen to yourself. You say, "the problem
with people is they don't care, so I don't
care about people." But, you're already
here. You've been here a long time. So,
there's a part of you that knows, even if
everything you say is true, none of it
matters.
SOMERSET
That part of me is dead.
Mills stands.
MILLS
You want me to agree with you: "Yeah,
you're right, Somerset. This is a fucked
place. Let's go live in a fucking log
cabin." Well, I don't agree with you.
You're giving up, and it makes me sick,
because you're the best I've ever seen.
Mills throws some money on the table.
MILLS
Thanks for the beer.
Mills leaves, other patrons watching him.
Somerset takes out a cigarette and goes to light it. The lighter
will not light, and when it does, Somerset's hand is trembling.
INT. MILLS' APARTMENT, BEDROOM -- NIGHT
Mills comes quietly into the dark bedroom. Tracy is asleep on
the bed. Mills takes off his suit jacket, puts it down. He sits
on a chair and unties one shoe, takes it off, then looks at
Tracy. Looks at her a long moment.
He puts the shoe on the floor and goes to get on the bed. He
kisses his wife's forehead, kisses her cheek, then wraps his arms
under and around her. He holds her tight, kisses her again.
Tracy stirs.
TRACY
Honey?
Mills runs his fingers along her face.
MILLS
I love you.
Mills holds her tighter. She wraps her arms around him. They
lie together, clinging, holding tighter still.
INT. MILLS' APARTMENT BUILDING/STREET -- NIGHT
Through the window of the apartment, we can see Tracy and Mills
on the bed. CAMERA MOVES from this window, to the street.
CAMERA CONTINUES down the night street, to a car far from Mills'
building. Inside the car, John Doe sits, looking up at Mills'
window. Doe looks as plain as white bread. He adjusts his thick
glasses, sips from a coffee cup.
INT. SOMERSET'S APARTMENT, BEDROOM -- NIGHT
Somerset is in bed. The metronome is sounding; tick... tick...
tick... The SOUNDS of the CITY are LOUD.
Somerset closes his eyes, concentrating on the metronome.
Tick... tick... tick... TWO MEN are HEARD from outside, YELLING
at each other. Somerset rolls over, restless. Tick... tick...
tick...
GLASS is HEARD SHATTERING. Somerset opens his eyes. MORE GLASS,
bottles being smashed. Somerset sits up. He reaches over, grabs
the metronome and throws it against the wall.
INT. SOMERSET'S APARTMENT, LIVING ROOM -- LATER NIGHT
THWACK. Somerset's switchblade hits the dartboard on the wall
and the blade embeds.
Somerset crosses the room, still dressed for bed. He is tense.
He takes the switchblade from the dartboard, paces back across
the room, turns, holds the blade, then throws. The blade sticks.
Somerset paces back to the dartboard, pulls the blade, paces
back, throws the knife. THWACK. He goes to the board, gets the
blade, paces, turns, throws. THWACK.
INSERT -- TITLE CARD
SATURDAY
INT. JOHN DOE'S APARTMENT, MAIN ROOM -- DAY
A clock on the wall says 12:30.
INT. JOHN DOE'S APARTMENT, ROOM TWO -- DAY
Three deputy detectives are reading John Doe's notebooks. PHONE
RINGS from the other room.
INT. JOHN DOE'S APARMENT, MAIN ROOM -- DAY
One deputy enters. He goes to the phone near the bed. The
phone's been hooked into recording device with a speaker and
tracing equipment. The deputy turns everything on, answers.
JOHN DOE (v.o.)
(through speaker)
I've gone and done it again.
INT. LUXURY APARTMENT, BATHROOM -- DAY
Somerset is looking around this femininely decorated bathroom
with a forensic, GIL. Both wear rubber gloves.
At the sink, objects covered in blood: a pair of scissors, a
hypodermic needle, first-aid tape and gauze bandages, a bottle of
anesthetic, a straight razor and a tube of super glue.
GIL
He really did a number on her, didn't he?
Gil opens the plastic shower curtain and looks into the tub. The
tub and shower wall are splattered with blood. The tub has a few
inches of water in it. The water is cloudy red. A few bits of
tape and gauze float in it. Gil jiggles the drain's knob. Some
bubbles pop up from the clogged drain.
INT. LUXURY APARTMENT, BEDROOM -- DAY
PRIDE is written in lipstick on a full length mirror. Below
that: I DID NOT KILL HER. SHE WAS GIVEN A CHOICE.
Mills and Dr. O'Neill are in the room. O'Neill goes through his
black bag. They're by a bed where a WOMAN lies dead under a
blanket. The woman's head is sloppily bandaged with heavy white
gauze and tape. The gauze is stained by spots of blood. Only
the eyes and mouth have been left uncovered. A zoo's worth of
stuffed animals have been placed across the bed. The woman holds
a stuffed unicorn.
Somerset enters from the bathroom as Mills reaches to take the
unicorn from the woman's grasp. There is a cordless phone in her
left hand, and her and clings to it.
Her right hand holds a bottle of prescription pills. Mills tries
to open the fingers of this hand with a tongue depressor, but
they are super-glued to the bottle. Mills turns the woman's hand
slightly so two red pills roll out onto the blanket.
SOMERSET
Sleeping pills.
Mills examines the left hand. The phone is glued into it.
O'Neill steps up, holding a thin pair of silver scissors. He
leans to slide the scissors under the woman's bandage mask,
starts cutting.
Somerset goes to a dresser where the woman's purse sits open. He
takes out the driver's license and looks at the photo. The woman
in the picture is stunningly beautiful.
SOMERSET
You see what he did?
Mills is watching the doctor work.
MILLS
He cut her up and dressed the wounds.
SOMERSET
(holds up his left hand)
Call for help, and you'll live. But,
you'll be disfigured.
(raises right hand)
Or, put yourself out of your misery.
O'Neill removes the bandages. Mills looks away. We do not see.
O'Neill looks to the detectives.
O'NEILL
He cut off her nose to spite her face, and
he did it very recently.
EXT. CITY STREET -- DAY
Mills' car pulls up in front of the precinct house. Mills and
Somerset get out. They wade through cars towards the old
precinct house building.
SOMERSET
I've decided to stay on this, till it's
over. Till it's either done or we can both
see it's never going to finish.
Mills remains impassive.
MILLS
Oh, you want to stay now?
SOMERSET
One of two things will happen. We're
either going to get John Doe, or he'll
finish his series of seven, and this case
will go on for years.
MILLS
You think you're doing me a big favor by
staying?
SOMERSET
I'm requesting you keep me on as your
partner a few more days. You'd be doing me
the favor.
Mills walks on.
MILLS
You knew I'd say yes.
SOMERSET
No, actually, I wasn't sure at all.
Somerset and Mills climb the steps of the precinct house.
Behind them, in the street, John Doe's car pulls up and parks.
Cars behind begin BEEPING. People behind begin cursing and
screaming for him to move.
John Doe steps out, his brown work boots, pants and shirttails
are splattered with blood.
He walks towards the precinct house, hands in his pockets, like
he's out for a stroll. People on the sidewalk stop on seeing
him, avoid him.
INT. PRECINCT HOUSE, RECEIVING LOBBY -- DAY
Mills and Somerset walk past booking cubicles and benches of
handcuffed low-lifes. Junkies are being led through by uniformed
cops. The place is swimming with activity. The two detectives
head to the wide duty desk at the end of the room.
SOMERSET
As soon as this is over, I'm gone.
MILLS
Big surprise.
They pass through a gate and Somerset goes towards a staircase
leading upstairs. Mills stops at the duty desk. Other cops are
vying for the DUTY SERGEANT'S attention.
MILLS
Mills and Somerset are on the premises.
SERGEANT
Wonder-fucking-ful.
Another PLAIN CLOTHES COP behind the duty desk leans over to hold
out a few phone-message note to Mills.
PLAIN CLOTHES COP
Your wife called this morning. Do us a
favor and get yourself an answering
machine, how bout it?
Mills nods and wave dismissively, pocketing the messages without
looking at them and walking to follow Somerset.
JOHN DOE (o.s.)
Detective.
Mills heads toward the stairs.
JOHN DOE (o.s.)
Detective!
Mills looks back... stops.
John Doe stands inside the precinct house doors. He gives a very
slight smile.
JOHN DOE
I know you.
Somerset stops, looks back down the stairs.
Mills is staring at Doe, not comprehending.
Doe holds up his arms as if to say, "Presto, here I am." All
eyes go to the blood-soaked figure of John Doe. There comes a
sudden, near-silence in the room.
One UNIFORMED COP takes out his gun, points it at John Doe.
UNIFORMED COP
It's him!
Several other cops drop what they're doing and draw weapons.
Mills, still off balance, takes out his own gun, walking back
through the gate. He points the gun at John Doe.
MILLS
Get down. Get down on the floor.
Cops move slowly in on Doe from all sides.
ANOTHER COP
You heard him, fuckface. Get down!
Somerset comes back through the gate.
SOMERSET
Be careful!
John Doe gets down on his knees, hands in the air. Mills, pulse
pounding, steps up, gun in both hands. Not too close.
MILLS
Down! Face on the floor!
ONE COP comes from behind and nudges Doe with his foot.
ONE COP
Spread your legs and get your hands out in
front of you!
John Doe lies on his stomach, obeying. Mills comes up and puts
his gun right against Doe's head.
MILLS
Don't move. Don't move an inch.
One cop begins frisking Doe. Another comes to put on cuffs.
Somerset comes to Mills' side.
SOMERSET
I don't believe it.
JOHN DOE
(to Somerset)
Hello.
The cop putting on the handcuffs looks up at Somerset and Mills.
COP
What the fuck is this... ?
The cop holds up Doe's cuffed hands. Doe winces. Every single
one of Doe's fingers has a bandage wrapped around it.
John Doe tries to muster a smile, his face pressed against the
floor, glasses askew, gun at his temple.
JOHN DOE
(to Mills)
I want to speak to my lawyer.
INT. PRECINCT HOUSE, OBSERVATION ROOM -- DAY
Mills holds a fingerprint card. The black ink prints are just
useless blobs, smeared with blood.
Mills, Somerset and the Captain stand in darkness. Mills looks
up from the print card through a two-way mirror into an
interrogation room.
In the interrogation room, John Doe sits, handcuffed to the wall.
This is not some superhuman serial killer.
He looks more like an eccentric college professor, not seething
with anger, but looking around with calm, almost lazy eyes. The
lawyer, MARK SWARR, sits taking notes and talking with Doe.
CAPTAIN
He cuts off the skin if his fingertips.
That's why we can't find a single usable
print in the apartment. He's been doing it
for quite a while. Keeps cutting before
the papillary line can grow back.
MILLS
What about the trace on his bank account
and the guns? There must be something to
connect him with a past.
CAPTAIN
So far it's all dead ends. No credit
history. No employment history. His bank
account's only five years old and it
started as cash. We're even trying to
trace his furniture, but for now all we
know is he's independently wealth, well
educated and totally insane. We may never
know how he got that way.
SOMERSET
Because he is John Doe, by choice.
MILLS
When do we get to question him?
CAPTAIN
You don't. It goes to court now.
MILLS
He wouldn't just turn himself in. It
doesn't make any sense.
Somerset moves from the window, crossing the room to sit.
CAPTAIN
Well, there he sits. It's not supposed to
make sense.
SOMERSET
He's not finished.
MILLS
He's pissing in our faces again and we're
just taking it.
CAPTAIN
You're wound too tight, Mills. Let it go.
The captain walks. Mills is furious. He presses his fingers
against the two-way-mirror, pushes to crack his knuckles loudly.
MILLS
(to Somerset)
You know he's fucking us.
SOMERSET
You and I are, probably for the first time
ever, in total agreement. He wouldn't just
stop.
MILLS
Well... what the fuck, man?
SOMERSET
He's only two murders away from finishing
his masterpiece, right? Can you even
conceive of what's going to happen next? I
mean, can you even imagine how he'll try to
finish it?
Mills looks in at John Doe. Somerset comes to stand beside.
MILLS
No.
SOMERSET
I can tell you this. I recognize his
lawyer. His name's Mark Swarr.
Mills looks at Somerset.
SOMERSET
He's the one who got Victor out.
(pause)
We'll wait for John Doe's plea.
INT. PRECINCT HOUSE, SOMERSET'S OFFICE -- DAY
Mills is at the desk, feet up. He stares at the blackboard.
1 gluttony (x) 5 wrath
2 greed (x) 6 pride (x)
3 sloth (x) 7 lust (x)
4 envy
Clock on the wall says 4:45. Somerset is packing books into
boxes, preparing for his eventual departure.
The captain steps into the office and clears his throat, looking
like there is something making him very unhappy.
INT. PRECINCT HOUSE, CAPTAIN'S OFFICE -- DAY
Mills and Somerset stand together. The captain is behind his
desk with Martin Talbot, the D.A., seated in front of him. Mark
Swarr is addressing them all, seems nervous but in control.
SWARR
My client says there are two more bodies...
two more victims, hidden away. He will
take Detectives Mills and Somerset to these
bodies, but only Detectives Mills and
Somerset. Only at six o'clock today.
Talbot wipes his moist brow with a handkerchief.
TALBOT
Oh, Christ.
MILLS
Why us?
SWARR
He says he admires you.
SOMERSET
(to captain)
This is all part of his game plan.
SWARR
My client claims that if the detectives do
not accept this offer, these two bodies
will never be found.
CAPTAIN
Frankly, counselor, I'm inclined to let
them rot.
TALBOT
We don't make deals, Mr. Swarr.
Mills gets in Swarr's face.
MILLS
How is it working for a scumbag like this?
You proud of yourself?
CAPTAIN
Ease back, Mills.
SWARR
I'm required by law to serve my clients to
the best of my ability, and to serve their
best interests.
Mills back off.
CAPTAIN
Well, we're going to have to pass.
SWARR
My client... he also wishes to inform you,
if you do not accept, he will plead
insanity, across the board.
TALBOT
(to no one in particular)
Let him try! I'd like to see him try!
SWARR
Come now, Martin. We all know, with the
extreme nature of these crimes, I could get
him off with such a plea.
Talbot considers this, wringing the handkerchief in his hands.
Mills looks at Somerset. Somerset looks at him.
TALBOT
I'm not letting this conviction slide, I
can tell you that right here and right now!
SWARR
He says, if you accept, under his specific
conditions, he will sign a full confession
and plead guilty... right here, right now.
Talbot glares at Swarr.
CAPTAIN
(to Mills)
What do you think?
MILLS
I'm in.
SWARR
It has to be both of you.
SOMERSET
If he were to claim insanity, this
conversation is admissible. The fact that
he's blackmailing us with his plea...
SWARR
And, my client reminds you, two more are
dead. The press would have a field day if
they found out the police didn't seem too
concerned about finding them... giving them
a proper burial.
SOMERSET
If there really are two more dead.
The captain picks up a sheet from his desk.
CAPTAIN
The lab report came up from downtown, They
did a quickie on Doe's clothing and
fingernails. They found blood from Doe,
from him cutting his own fingers... there
was blood from the woman whose face he cut
off, and blood from a third party. As yet
unidentified.
TALBOT
(to Somerset)
You would be escorting an unarmed man.
Somerset thinks it over. He looks to Mills.
MILLS
Let's finish it.
Somerset looks at the floor, then at Swarr.
SOMERSET
(to the captain)
Well... get the fucking lawyer out of the
room and we can talk about how this whole
thing's going to go down.
INT. PRECINCT HOUSE, BATHROOM/LOCKER ROOM -- DAY
Somerset's hand reaches to the sink to pick up a razor.
Somerset and Mills are at the sinks, looking at themselves in
mirrors, shirtless. They have shaving cream spread across their
chests. Somerset flicks his cigarette in the sink, then brings
the razor up to start shaving the hair off his chest. Mills is
already doing the same.
SOMERSET
If John Doe's head splits open and a U.F.O.
flies out, I want you to have expected it.
MILLS
I will.
They continue shaving.
MILLS
If I were to accidentally cut off one of my
nipple, would that be covered by workman's
compensation?
Somerset smiles just slightly.
SOMERSET
I suppose so.
(pause)
If you were man enough to actually file the
claim, I'd buy you a new one out of my own
pocket.
Mills finishes shaving, washes and wipes his chest off with a
towel. He turns dead serious.
MILLS
Listen, Somerset... I uh...
Mills pauses, sighs. Somerset stops shaving and looks at him.
SOMERSET
What is it?
MILLS
Well, I have to tell you...
(pause)
I think I've fallen in love with you.
SOMERSET
(shakes his head)
Slut.
MILLS
(laughs, walking out)
Kiss me on the lips.
SOMERSET
(still shaving)
Give me a break.
INT. PRECINCT HOUSE, READY ROOM -- DAY
Somerset and Mills have their shirts open. A female technician
tapes a small radio transmitter and microphone to Mills' chest.
Somerset is already wired up, pressing the adhesive to make sure
it'll hold.
The technician finishes prepping Mills. Somerset buttons up his
shirt. The technician packs up her kit, leaving. The room is
quiet. Somerset picks up his bullet-proof vest, slides into it.
Mills looks at his watch. He puts on his own vest, fastening it
tight. He looks at Somerset.
Somerset takes out a roll of antacids and pops a few.
Mills holds out his hand and waits for an antacid. Somerset
looks at him, flicks a few into Mills' palm. Mills chews them.
SOMERSET
Stay as cold as ice.
Somerset picks up his gun off a chair. Mills picks up his gun.
They both check them out and close them up. They lay the guns in
holsters at the small of their backs.
They look at each other. Somerset holds out his hand. Mills
shakes it.
INT. CITY STREET, PRECINCT HOUSE FRONT -- DAY
The street is full of shadows as the sun is falling low. At the
front of the precinct house, a throng of reporters shifts
anxiously. A line of policemen holds them back.
Martin Talbot steps out of the precinct house, cops on either
side of him. The press swarm lurches forward, flashbulbs
exploding. Talbot holds out his hands, preparing to speak.
EXT. CITY STREET, PRECINCT HOUSE REAR -- DAY
At the rear of the precinct house, Somerset's car pulls out of
the fenced in parking lot. The car speeds up on the street and
turns a corner, heading into the grim city.
EXT. SKYSCRAPER ROOFTOP -- DAY
California is dressed in full battle gear, looking through
binoculars to the city below. The wind blows hard.
A PILOT, holding two helmets, comes up behind California. A
sleek police helicopter sits on the roof's helipad.
CALIFORNIA
Is this wind going to hurt us?
PILOT
Just makes the ride more fun.
The cocky pilot grins.
INT. SOMERSET'S CAR -- DAY
Somerset is at the wheel. Mills is in the passenger's seat,
looking back at John Doe through protective wire mesh. Doe's in
the back seat. His handcuffs are attached to ankle cuffs by a
length of chain. He is dressed in gray pants and a gray shirt,
looking out the window, sweaty but placid.
SOMERSET
Who are you, John? Who are you really?
John Doe looks to Somerset's eyes in the rearview mirror.
JOHN DOE
What do you mean?
SOMERSET
I mean, at this point, what would it hurt
if you told us a little about yourself?
JOHN DOE
(pause)
It doesn't matter who I am. Who I am means
absolutely nothing.
(looking out, to Somerset)
You need to turn left here... at the
traffic light.
MILLS
Where we headed?
JOHN DOE
You'll see.
Mills looks at Doe for a long time in silence.
MILLS
We're not just going to pick up two more
bodies, are we, Johnny? That wouldn't
be... shocking enough. Wouldn't keep you
on the front page of the newspapers.
JOHN DOE
Wanting people to pay attention, you can't
just tap them on the shoulder. You have to
hit them in the head with a sledgehammer.
Then, you have their strict attention.
MILLS
What makes you so special that people
should pay attention?
JOHN DOE
Not me. I'm not special. I'm not
exceptional.
(pause)
This is, though. What I'm doing.
MILLS
I hate to burst your bubble, but other than
the fact that you're especially sadistic,
there's nothing unusual about these
precious murders of yours.
JOHN DOE
You know that's not true.
MILLS
In two months, no one's going to even
remember this happened.
Doe looks down for a moment, then looks up, almost shyly.
JOHN DOE
You can't see the whole... the whole
complete act yet. Not yet. But, when this
is done, it's going to be... so... so...
MILLS
Spit it out.
JOHN DOE
It's going to be flawless. People will
barely be able to comprehend it. It will
seem almost surreal... but it will have a
tangible reality, so they won't be able to
deny it.
Doe looks down, licking his lips. He clenches his hands into
fists, digging his bandaged fingertips into his sweaty palms.
JOHN DOE
I can't wait for you to see. I can't
wait...
(pause, looks to Mills)
It's really going to be something.
MILLS
Well, I'll be standing beside you the
whole time, so you be sure to let me know
when this whole, complete reality thing is
done. Wouldn't want to miss it.
JOHN DOE
Oh, don't worry. You won't...
INT, POLICE HELICOPTER -- DAY
The helicopter is in flight above the city. California is
strapped in, hanging out the door. He holds a high powered
automatic rifle, wears goggles and a helmet/headset.
JOHN DOE (v.o.)
(through headset)
... you won't miss a thing.
Two other armed cops sit in the belly of the chopper. California
leans in and looks up towards the pilot.
CALIFORNIA
(into helmet microphone)
Head over the bridge and keep them in
sight. Just keep your distance.
The pilot looks back and nods.
EXT. CITY SKY -- DAY
The chopper dips, flying like a bullet over the polluted city,
heading towards the setting sun.
EXT. CITY STREETS -- DAY
Somerset's car moves along a highway at river's edge. Heading
for a huge suspension bridge filled with speeding traffic ahead.
INT. SOMERSET'S CAR -- DAY
John Doe has his head against the window, looking up at the
bridge, excited. He sits back, glances out the back window, then
faces front, bites his lip, fidgety, like a kid on Christmas Eve.
Somerset's watching him through the rearview mirror.
SOMERSET
What's so exciting?
JOHN DOE
It's not too far away now.
[page 106. missing from script]
JOHN DOE
(long pause)
I... I doubt I enjoyed it any more than...
Detective Mills would enjoy some time alone
with me in a room without windows.
(looks to Mills)
Isn't that true? How happy would it make
you to hurt me, with impunity?
MILLS
(coy mocking)
Now... I wouldn't do something like that,
Johnny. I like you. I like you a lot.
JOHN DOE
You wouldn't because you know there are
consequences. It's in those eyes of yours,
though... nothing wrong with a man taking
pleasure in his work.
(pause, shakes his head)
I won't deny my own personal desire to turn
each sin against the sinner. I only took
their sins to logical conclusions.
MILLS
You only killed a bunch of innocent people
so you could get your rocks off. That's
all.
JOHN DOE
Innocent? Is that supposed to be funny?
Look at the people I killed. An obese man,
a disgusting man who could barely stand
up... who if you saw him on the street,
you'd point so your friends could mock him
along with you. Who if you saw him while
you were eating, you wouldn't be able to
finish your meal. After him I picked the
lawyer. And, you both must have been
secretly thanking me for that one. This
was a man who dedicated his life to making
money by lying with every breath he could
muster... to keeping rapists and murderers
on the streets.
MILLS
Murderers?
JOHN DOE
(ignoring)
A woman...
MILLS
Murderers like you?
JOHN DOE
(ignoring, louder)
A woman... so ugly on the inside that she
couldn't bare to go on living if she
couldn't be beautiful on the outside. A
drug dealer... a drug dealing pederast,
actually.
(laughs at that one)
And, don't forget the disease spreading
whore. Only in a world this shitty could
you even try to say these were innocent
people and keep a straight face.
(getting worked up)
That's the point. You see a deadly sin on
almost every street corner, and in every
home, literally. And we tolerate it.
Because it's common, it seems trivial, and
we tolerate, all day long, morning, noon
and night. Not anymore. I'm setting the
example, and it's going to be puzzled over
and studied and followed, from now on.
MILLS
Delusions of grandeur.
JOHN DOE
You should be thanking me.
MILLS
And, why is that?
JOHN DOE
You're going to be remembered, and it's all
because of me. And, the only reason I'm
here right now is because I wanted to be.
MILLS
We would have gotten you eventually.
JOHN DOE
Really? Just biding your time, then?
Toying with me. Is that it? Letting five
people die until you finally felt like
going out and hauling me in?
Doe sits forward, slowly getting to Mills.
JOHN DOE
(angrily)
Tell me what it was that gave me away.
What was the piece of evidence you were
going to use against me right before I
walked up to YOU and put my hands in the
air.
MILLS
I seem to remember knocking on your
door.
JOHN DOE
And, I remember breaking your nose.
(leans further forward)
You're only alive because I didn't
kill you.
MILLS
Sit back.
John Doe doesn't sit back, staying very close to the wire mesh.
JOHN DOE
I spared you, and you're going to have to
remember that every time you look in the
mirror at that nose on your face for the
rest of your life. Or, I should say, for
the rest of what life I've allowed you to
have.
Mills slams his fist against the mesh, fed up, furious.
MILLS
I said, sit back, freak. Sit back and shut
your fucking mouth!
Die sits back, taking a deep breath and letting it out.
In the front seat, Somerset shoots a concerned glance at Mills,
then looks up into the rearview mirror.
IN THE MIRROR: Doe, calm, gives Somerset a smile.
Doe then turns his attention back out the passenger window,
watching the world pass by, his face pressed to the glass.
Mills sits forward in his seat, letting his anger come down. Doe
keeps staring out the window. A long pause.
JOHN DOE
Don't ask me to pity the people I killed.
I don't mourn them anymore than I mourn the
thousands who died in Sodom and Gomorrah.
Mills almost lets this pass, but can't. Blunted anger:
MILLS
You fuck. You really think what you did
was God's good work?
Pause. John Doe is pressing his forefinger into the tip of his
thumb, causing blood to drip from under the bandage.
JOHN DOE
The Lord works in mysterious ways.
EXT. SKY -- EARLY EVENING
The helicopter flies over huge, blackened industrial parks, past
smokestacks spewing soot. The sky is turning crimson.
INT. POLICE HELICOPTER -- EARLY EVENING
California leans way out looking back at the city.
EXT. INDUSTRIAL ROAD -- EARLY EVENING
Somerset's car comes down this rocky, deserted strip, towards the
industrial parks. The car tosses dirt into the air where it is
captured on the wind.
EXT. SKY -- EARLY EVENING
The chopper roars, low, close to the stretch of industrial road.
This is the only road through vast swampy fields. The industrial
parks are far behind.
INT. POLICE HELICOPTER -- EARLY EVENING
California still leans out, gun poised, looks over the fields.
CALIFORNIA
There ain't no ambush out here. There
ain't no fucking nothing out here.
PILOT (v.o.)
(through headset)
We got about two minutes before they come
up behind us.
CALIFORNIA
Go high. Way up. In sixty seconds, cut to
the west.
EXT. SKY -- EARLY EVENING
The chopper climbs, really moving.
EXT. INDUSTRIAL ROAD -- EARLY EVENING
Somerset's car comes down the road, surrounded by marshlands.
The car slows, then stops. Mills gets out and goes to extract
Doe. Somerset gets out, looking east to the industrial parks and
city beyond. The sky is darkening.
Somerset walks and looks to the west. The sky is red. Very far
away, a passenger train moves towards the hidden sun.
Somerset watches the train, walking to the edge of the roadway.
He looks down and steps back from what he sees.
A dead dog lies in the weeds, old and moldering.
Somerset turns to the car, where John Doe stands with Mills. Doe
points with his cuffed hands to the dog, grins.
JOHN DOE
I didn't do that.
EXT. MARSHLANDS -- EARLY EVENING
The wind howls, pounding on John Doe as he walks through the
swampy field. He walks slowly, encumbered by the deep muck and
by the short chain between his ankles. Mills is with Doe,
disgusted by the ooze covering his shoes and pants cuffs. He
looks ahead, cautious. Somerset walks behind them.
Doe keeps looking back towards the car on the industrial road.
MILLS
What are you looking for?
Doe looks forward.
JOHN DOE
What time is it?
SOMERSET
Why?
Somerset looks at his watch. It's one minutes after seven.
JOHN DOE
I want to know.
Mills gives Doe a shove.
Somerset looks back towards the industrial road, worried.
MILLS
Just keep leading the way.
JOHN DOE
It's close.
SOMERSET
Mills!
Mills and Doe look back at Somerset. Somerset is facing the
industrial road, pointing. A van is coming, dust flying.
Somerset looks at Mills. Mills looks at Somerset. They take out
their guns. Somerset starts towards the road.
SOMERSET
Stay with him.
MILLS
Wait!
SOMERSET
There's no time to discuss it!
Somerset runs to head off the van.
John Doe begins walking to follow Somerset.
JOHN DOE
There he goes.
Mills levels his gun at John Doe's head.
EXT. MARSHLANDS, NEAR INDUSTRIAL ROAD -- EARLY EVENING
Somerset runs, breathing hard, opening the top of his
bullet-proof vest to speak into his hidden microphone.
SOMERSET
There's a van... coming down the industrial
road. Coming from the east.
INT. POLICE HELICOPTER -- EARLY EVENING
The chopper is circling in the air, far from the marshlands with
the sun behind it. Another cop is in the hatchway beside
California, looking through binoculars.
SOMERSET (v.o.)
(from headset)
The van is coming form the east. I don't
know what it is. Come around. Come
around.
EXT. MARSHLANDS, NEAR INDUSTRIAL ROAD -- EARLY EVENING
Somerset continues, charging through the mire.
SOMERSET
Just get ready for anything and wait for my
signal. Wait for me.
EXT. MARSHLANDS -- EARLY EVENING
Mills keeps the gun on John Doe, watches Somerset far off.
JOHN DOE
It's good we have some time to talk.
Doe starts walking again.
MILLS
Get down. Get down on your knees!
Mills grabs Doe and pushes Doe's knees out with his foot, making
Doe kneel in the brown water.
Mills positions himself behind Doe so that Doe is between him and
the road. Now, Mills can keep the gun on Mills and still watch
Somerset.
EXT. MARSHLANDS, INDUSTRIAL ROAD -- EARLY EVENING
Somerset comes up on the road, near his car. He signals for the
van to stop, then fires a warning shot in the air. The van is
about one hundred yards away, still coming.
Somerset walks towards it, breathless, pointing his gun.
SOMERSET
Stop the van! Stop!
The van brakes, wheels sliding on the loose roadway. Stops.
Somerset moves up to it, staying about ten feet away.
SOMERSET
Get out! Get out with your hands on your
head! Do it now!
The driver of the van, a DELIVERYMAN, pushes the door open and
slides out, slow, takes off his sunglasses.
DELIVERYMAN
Jesus Christ, man, don't shoot me!
SOMERSET
Turn around. Hands on your head!
DELIVERYMAN
What the hell's going on?
SOMERSET
Who are you? What are you doing out here?
DELIVERYMAN
I'm... I'm just delivering a package.
INT. POLICE HELICOPTER -- EARLY EVENING
California listens as the chopper spins over industrial parks.
DELIVERYMAN (v.o.)
(through headset)
It's just a package for this guy... David.
Detective David Mills.
CALIFORNIA
Motherfucker.
The pilot looks back at California.
PILOT
Let's do it.
CALIFORNIA
No! Wait for Somerset!
EXT. MARSHLANDS -- EARLY EVENING
Mills and Doe can see Somerset keeping his distance from the
deliveryman. The deliveryman moves to the back of the van and
opens the van's rear door.
JOHN DOE
When I said I admired you... I meant what I
said. I do admire you.
Mills keeps his eyes on the van, but steps up to place his gun at
the back of Doe's head. Pulls the hammer back.
MILLS
Shut up.
EXT. MARSHLANDS, INDUSTRIAL ROAD -- EARLY EVENING
The deliveryman takes a brown package, about a foot square, from
the van.
DELIVERYMAN
This guy paid me five hundred bucks to
bring it out here. He wanted it here at
exactly seven o'clock.
SOMERSET
Put it down. Put it on the ground.
DELIVERYMAN
Okay...
He puts it on the road and backs away, holding up his hands.
Somerset glances into the field to see Doe on his knees with
Mills behind him. Somerset looks at the package. Written on
top: DETECTIVE DAVID MILLS -- HANDLE WITH CARE.
SOMERSET
(to deliveryman)
Go. Get out of here!
The deliveryman backs off, then scrambles into the van. Somerset
pulls back his bullet-proof vest and speaks into the mic.
SOMERSET
There's a package here. It's from John Doe.
The van tears away. Somerset doesn't know what to do. He walks
around the package, reholsters his gun.
SOMERSET
I don't know... I don't know...
He looks out towards Doe and Mills.
INT. HELICOPTER -- EARLY EVENING
California waits, listening, looking into the blood-red sky.
SOMERSET (.o.)
(through headset)
I'm going to have to open it.
EXT. MARSHLANDS -- EARLY EVENING
Mills watches Somerset kneel beside the package on the road.
JOHN DOE
I wish I could have been a normal man like
you. I wish I could have a simple life.
MILLS
What the fuck is going on here?!
EXT. MARSHLANDS, INDUSTRIAL ROAD -- EARLY EVENING
Somerset pulls his switchblade, clicks it open.
He cuts across the top of the box, hands shaking, cuts quickly.
He pulls the box open, pulls at some bubble-wrap inside.
INT. POLICE HELICOPTER -- EARLY EVENING
The pilot grits his teeth.
PILOT
(into helmet mic)
Let's go!
CALIFORNIA
We are going to wait!
California listens.
SOMERSET (v.o.)
(through headset)
Oh, Christ... oh Christ...
EXT. MARSHLANDS, INDUSTRIAL ROAD -- EARLY EVENING
Somerset stumbles backwards, away from the open box. He is white
as a sheet, eyes filled with numb fear. He leans against his car
for support, wretches, sick, holds the back of his hand to his
mouth.
SOMERSET
No...
EXT. MARSHLANDS -- EARLY EVENING
Mills is watching Somerset, grabs John Doe by the shirt.
MILLS
Get up. Stand up! Let's go!
Doe stands, tries to walk. Mills is walking quickly, towards
Somerset. Doe can't keep up.
JOHN DOE
You've made a good life for yourself...
MILLS
Shut up!
Doe falls and Mills starts dragging him through the reeds.
EXT. MARSHLANDS, INDUSTRIAL ROAD -- EARLY EVENING
Somerset wipes saliva from his lips and tears from his eyes. He
takes a deep breath, looks to see Mills dragging Doe.
SOMERSET
Oh, fuck, no...
Somerset straightens, tries to pull himself together. He
swallows, draws his gun.
SOMERSET
(into hidden mic)
Listen... listen to me. Whatever you do...
don't come in here. Stay away. No matter
what you hear, do not move in!
(starts towards Mills)
John Doe has the upper hand.
Somerset picks up his switchblade and flips the blade back in.
He enters the marsh.
EXT. MARSHLANDS -- EARLY EVENING
Mills sees Somerset coming and pulls Doe so that Doe stands.
JOHN DOE
(quietly, watching)
Here he comes.
MILLS
(shouts to Somerset)
What the fuck is going on?
JOHN DOE
(to Mills)
I want you to know, I wish I could have
lived like you do.
Somerset starts running towards Mills, mud splattering.
SOMERSET
Mills... put down your gun! Throw it away!
Mills leaves Doe behind, walks towards Somerset, gun down.
MILLS
What?
Somerset is fifty yards away and closing.
SOMERSET
Throw your gun down now!
MILLS
What are you talking about? What happened?
JOHN DOE
Are you listening to me, Detective Mills?
I'm trying to tell you how much I admire
you... and your pretty wife Tracy.
Mills freezes, turns to Doe. Doe smiles. Somerset is close.
SOMERSET
Throw your weapon, detective! Now!
MILLS
(to John Doe)
What did you say?
JOHN DOE
It's surprising how easily a member of the
press can purchase information from the men
in your precinct.
SOMERSET
David... please...
JOHN DOE
I visited your home this morning, after you
left.
Mills is filled with an aching terror.
JOHN DOE
I tried to play husband... tried to taste
the life of a simple man, but it didn't
work out. So, I took a souvenir.
Mills turns to look at Somerset with pleading eyes. Somerset
holds out his hand.
SOMERSET
Give me the gun.
JOHN DOE
Her pretty head.
MILLS
Somerset...
JOHN DOE
Because I envy your normal life. Envy is
my sin.
Somerset can't hold back tears.
Fury rises in Mill and he turns to level his gun at John Doe.
Somerset raises his gun and points it at Mills.
SOMERSET
No!
Mills sees Somerset's gun, raises his gun to Somerset.
MILLS
Tell me it's not true.
SOMERSET
I can't let you do this...
Mills steps forward, enraged.
MILLS
Put your gun down!!
SOMERSET
Don't do this... please...
MILLS
Put the gun down, Somerset!
A pause. Somerset's gun hand is trembling. The wind whips
across them. The HELICOPTER can be HEARD distantly. Somerset
throws his gun down.
SOMERSET
David, listen to me...
Mills goes to grab John Doe by the throat and puts the gun to
Doe's forehead, blind with rage.
Somerset holds his hand behind his back, opens his switchblade.
SOMERSET
He wants this! He wants you to do it!
Doe is staring into Mills' eyes with wild expectation.
JOHN DOE
Kill me.
Doe lowers his head, waiting for execution.
Mills holds the gun at Doe's head, undecided, furious.
Somerset edges towards them.
MILLS
(looks to Somerset)
Stop it! You stay away!
Somerset moves the switchblade so he's holding it by the blade,
ready to throw, keeping it hidden.
SOMERSET
I can't let you do this!
Mills kicks Doe and throws him backwards on the ground. The
HELICOPTER is CLOSER.
Mills stands over Doe and points the gun.
JOHN DOE
She begged for her life, and for the life
of your baby inside her.
Mills' face fills with confusion -- then a wave of horror.
Doe's eyes register shock.
JOHN DOE
You didn't know.
SOMERSET
NO!
Somerset brings his hand out to throw the blade, but Mills reacts
to the movement, turns on Somerset and fires -- BLAM!
Somerset flies backwards in the air, bullet exploding into his
shoulder, just above the bullet-proof vest's opening.
Somerset hits the ground, crying out, bloody, writhing.
Mills turns the gun on John Doe.
INT. POLICE HELICOPTER -- EARLY EVENING
The chopper is over the marshland. California is leaning out
with his rifle. He cringes from the sounds as FROM HIS HEADSET
is HEARD: BLAM -- BLAM -- BLAM -- BLAM -- BLAM.
INSERT -- TITLE CARD
TWO WEEKS LATER
INT. HOSPITAL ROOM -- DAY
Somerset sits in a wheelchair. He is dressed in a hospital gown.
His upper chest and shoulder are wrapped in bandages. He stares
out the window at the city's buildings.
CAPTAIN (o.s)
Hey there, Somerset.
Somerset turns to see the captain. Somerset looks weak, older.
SOMERSET
Hello.
The captain walks in, carrying something behind his back.
CAPTAIN
How you feeling?
SOMERSET
I can breathe without pain now, so I guess
I feel great.
Somerset musters a lame smile. The captain sits on the bed.
CAPTAIN
The guys at the precinct heard you're
getting out today. Anyway, we all chipped
in...
The captain takes a big tool belt full of tools from behind his
back. He hands it over. Somerset looks at it and lays it on his
lap. He smiles for real.
SOMERSET
Thank you. Tell them, thank you.
CAPTAIN
We figure you need all the tools you can
get to fix up that piece of shit you call a
house.
SOMERSET
Yeah, that's true.
Somerset continues examining the tools.
CAPTAIN
They're hoping you stop and say goodbye
before you go, but I told them not to
expect it.
SOMERSET
(not looking up)
It would be too hard.
The captain stands.
CAPTAIN
I have to get going, but... there is one
more thing.
Somerset looks up. The captain takes a letter from his pocket.
CAPTAIN
I don't know if you're going to want it.
It was down front. It's from Mills.
Somerset pauses, then puts out his hand to take it.
CAPTAIN
He's being arraigned tomorrow.
SOMERSET
I read about it in the paper.
Somerset just looks at the letter.
CAPTAIN
I guess... decide for yourself. I don't
know what it says. I'm going to go.
SOMERSET
I'll see you.
The captain nods and walks into the hall.
Somerset wheels back to the window. He looks at the letter.
Pause. He opens it. Unfolds the paper inside.
The note reads:
YOU WERE RIGHT. YOU WERE
RIGHT ABOUT EVERYTHING.
Somerset closes the note, upset.
INT. HOSPITAL, MAIN NURSES' STATION -- DAY
Somerset is in street clothes. He signs a form at the busy front
desk. A NURSE takes the form and hands Somerset a large manila
envelope.
NURSE
There you go, Mister Somerset.
"Mister" causes Somerset to look strangely at the nurse.
NURSE
Yes?
SOMERSET
Nothing.
EXT. HOSPITAL -- DAY
Somerset comes down the stairs, slowly, tired. He holds the
manila envelope and a small suitcase. The streets are busy with
pedestrians and traffic.
He walks down the sidewalk.
He puts down the suitcase and opens the manila envelope to look
inside. He sorts through the contents, takes out his keys and
puts them in his pocket.
He reaches in the envelope again, and takes out the square of
wallpaper with the pale, red rose on it. There is some dried
blood on the paper. Somerset lays the envelope on the ground
beside the suitcase.
He looks at the rose, tries to scratch off the blood.
He looks up, squinting from the sun, at the city bustling around
him. At the tight canyon formed by the buildings.
At the cars, buses and taxis racing in the streets.
At a man, talking to himself, who lies on the sidewalk,
surrounded by garbage.
At the people, miserable people, walking past him.
Somerset takes out the note from Mills: YOU WERE RIGHT. YOU WERE
RIGHT ABOUT EVERYTHING.
A father passes by, holding his young son's hand. Somerset turns
to watch them pass. The father reaches to pick the son up and
carry him in his arms. The boy laughs and holds tight.
The father hugs his son to him, kisses him on the cheek. The boy
returns the kiss with great affection.
Somerset watches them disappear in the mass of humanity. He
looks back at the two papers in his hands. He lets out a sigh.
SOMERSET
(to himself)
Oh... man...
He sighs again, drained.
He puts the pale paper rose inside the note from Mills. He folds
them together.
He tears them both up, into little pieces.
EXT. PRECINCT HOUSE -- DAY
Cars roll by in the street. Cops come and go.
Somerset walks up the stairs, into the precinct house. The doors
shut behind him.
END
На чтение 10 мин. Просмотров 12.5k. Опубликовано 06.01.2022
Страна: США
Жанр: триллер, детектив, драма, неонуар
Год производства: 1995
Режиссер: Дэвид Финчер
Актеры: Морган Фримен, Брэд Питт, Кевин Спейси, Гвинет Пэлтроу
Детективная драма «Семь» (Seven) режиссера Дэвида Финчера рассказывает о расследовании череды жестоких убийств. Двое полицейских – герои Моргана Фримена и Брэда Питта – невольно становятся участниками безумной игры, навязанной им маньяком в исполнении Кевина Спейси.
Суть фильма «Семь» в попытке преступника восстановить справедливость, искоренив семь смертных грехов человечества. Вот только делает он это извращенно – мучая и убивая своих жертв.
Содержание
- О чем фильм
- Идея фильма
- План Доу и Священное писание
- Смысл названия
- Режиссерские варианты концовки и смысл финала
- Фильмы, похожие на «Семь»
- «Молчание ягнят», 1990
- «Имитатор», 1995
- «Власть страха», 1999
- «Всадники апокалипсиса», 2009
О чем фильм
Нью-Йорк, 90-е годы 20 века. Уильям Сомерсет (Морган Фримен) и Дэвид Миллз (Брэд Питт) — два детектива, расследующие очередное убийство. Поначалу об этих двоих ничего не известно, кроме того, что Сомерсет собирается закончить службу в полиции и через семь дней уходит на заслуженную пенсию. Однако тут же становится ясно, что завершить карьеру герою Фримена так скоро не удастся — слишком уж серьезным обещает быть грядущее дело.
В грязной, полном смрада и тараканов квартире полицейские находят тело убитого мужчины. Поначалу они решают, что тот попросту умер от инфаркта, ведь при весе в 300 кг сложно сохранить здоровое сердце. Но потом становится ясно — это жертва жестокого убийства.
Маньяк предварительно связал толстяка, а потом мучил его, закармливая до смерти. За холодильником на стене детектив Сомерсет находит объяснение — надпись «чревоугодие». Он понимает, что эта жертва — далеко не последняя на счету коварного убийцы.
Отношения Сомерсета с молодым напарником поначалу не складываются. Детектив Миллз считает, что его недостаточно ценят, не доверяют, что у Сомерсета есть к нему личная неприязнь. Лишь вмешательство жены Миллза Трейси (Гвинет Пэлтроу) помогает наладить связь между мужчинами. Она приглашает Уильяма к ним на ужин и мирит Сомерсета с Миллзом, сближает их.
Следующей жертвой убийцы становится известный в Нью-Йорке адвокат. Рядом с его телом в кабинете детективы находят надпись кровью «алчность». Сомерсет первым догадывается, что маньяк пытается искоренить семь смертных грехов. Он перечисляет все семь и говорит, что убийца не остановится, жертв будет больше. Но сам он отказывается от дела, передав его Миллзу.
Третьей жертвой убийцы становится несчастный Теодор Аллен или «Виктор». Он психически больной наркоман, судимый за попытку изнасилования. Поначалу детективы решают, что он и есть убийца, но позже выясняется, что Аллен всего лишь очередной объект возмездия маньяка.
Несчастный был привязан к кровати целый год. Все это время неизвестный преступник кормил его, платил за его квартиру, но не давал двигаться. В итоге полуживое тело «Виктора» и нашли Миллз и Сомерсет. Его мучения были «карой» за смертный грех — леность.
Четвертой и пятой жертвами маньяка стали женщины. Первая — проститутка, которая погибла в результате изнасилования ножом, вторая — горделивая красавица-актриса, которой убийца перед смертью изуродовал лицо.
«Похоть» и «гордыня» — вот два очередных греха, которые пытался искоренить маньяк. К тому времени детективы уже поняли, что преступник образован и умен, и его действия связаны с библейскими канонами.
Уильям Сомерсет догадывается, что начитанный убийца наверняка часто наведывался в библиотеку. Именно среди читателей он и вычислил маньяка, узнав его адрес и имя. Безумцем оказался некий Джон Доу (Кевин Спейси). Детективы вдвоем наведываются к нему, но тот, неожиданно встретив их в коридоре, сбегает, отстреливаясь. Пытаясь догнать его, Миллз получает ранение. В один момент Джон Доу едва не убивает его, но в последний момент убирает пистолет и сбегает.
Когда Миллз и Сомерсет уже теряют надежду найти маньяка, он вдруг сам является к ним, сдавшись правосудию. Он заявляет, что есть еще две жертвы, ведь всего смертных грехов семь. Джон Доу обещает привести детективов к телам. Они едут туда, куда говорит им преступник. Остановившись посреди пустыни, Доу спрашивает детективов, который час. Услышав, что уже семь часов, он говорит: «Уже скоро».
К ним приближается фургон, из которого выходит парень и говорит, что доставил посылку для детектива Миллза. Сомерсет открывает коробку и в ужасе отходит. Доу говорит Миллзу, что убил его жену, что она умоляла его сохранить жизнь ей и ее нерожденному ребенку и что теперь ее голова лежит в этой коробке.
Сомерсет умоляет Миллза не убивать Доу, ведь тот «хочет именно этого». Сам же Доу просит Миллза: «Убей меня, стань седьмым грехом. Стань гневом!». Потрясенный Миллз стреляет в Доу и убивает его.
Идея фильма
После прогремевшего в 1990 году «Молчания ягнят» тема маньяков и безумных (но идейных) серийных убийц стала особенно популярной. Сценарий фильма «Семь» виделся перспективным многим режиссерам, но взяться за него первым решился Дэвид Финчер. Он увидел в этом мрачном, жестоком и депрессивном сценарии глубокую идею, и даже не одну.
План Доу и Священное писание
Преступления Джона Доу были основаны на идее о семи смертных грехах из Священного писания. Список закрепил в христианской традиции папа Григорий I Великий. Согласно ему, самыми порицаемыми считаются чревоугодие, алчность, праздность, гордыня, похоть, зависть и гнев. Маньяк следует библейским канонам, тщательно избирая жертв и наказывая несчастных их же пороками.
Не случайно толстяка он карает едой, ленивого наркомана — обездвиживанием на год, горделивую актрису — уродством, проститутку — изнасилованием.
Доу возомнил себя орудием в руках Создателя, вершащим справедливость. И для многих его действия даже могут показаться логичными, оправданными. Но так ли это? Может ли библейский текст быть оправданием нечеловеческим преступлениям, убийствам с особой жестокостью?
Основная суть христианства, как религии, — любовь, беспредельная связь между Богом и человеком. Пытаясь оправдать свои действия, Джон Доу нарушает основные каноны Библии.
Желая искоренить семь пороков, он сам становится воплощением их всех. Им овладевает гордыня, алчность, зависть, гнев — все то, от чего он хочет избавить мир. Идея в том, что мировоззрение маньяка не имеет ничего общего с сутью христианства, как бы громко не звучали его заявления.
Смысл названия
В фильме «Семь» много символизма. С этим числом связано не только количество смертных грехов. Эта аналогия очевидна, но есть также и другие моменты.
Сомерсету остается семь дней до пенсии. Это период, за который он понимает, что не может оставить свою работу, как бы ненавистна она ему не стала. Это время, за которое главный герой принимает себя и свое предназначение и больше не пытается убежать от судьбы.
В семь вечера Сомерсет приглашен на ужин к Дэвиду и Трейси Миллз. С этого момента зрители больше узнают о героях, а между ними возникает невидимая эмоциональная связь.
Семь часов на часах в момент, когда в финале Миллзу доставляют роковую посылку. Джон Уокер выбрал это время, продумал все заранее. Число «семь» становится знаковым в фильме, имеет скрытый смысл.
Режиссерские варианты концовки и смысл финала
Сценарий изначально был подвергнут тщательному разбору, его не принимали продюсеры из-за мрачной концовки. Но Дэвид Финчер настаивал на том, чтобы финал был именно таким. Он говорил: «Зрители могут, спустя годы, не назвать актеров, отдельные эпизоды фильма, но финальную сцену с головой в коробке не забудут никогда». Между тем, были и запасные варианты концовки.
Предполагалось, что последним кадром будет выстрел Миллза в Доу. Затем — черный экран и титры. Но после режиссер решил доснять финал и добавил сцену, когда Миллза увозят, а Сомерсет говорит словами Хэмингуэя: «Мир — место прекрасное, достойное, чтобы бороться за него… Со второй частью я согласен».
Были также варианты, где детективы в конце спасают жизнь Трейси. В одном из них Миллз и Доу сгорают в церкви, а Трейси выживает, рожает ребенка и воспитывает его.
Когда стало понятно, что гибель героини Гвинет Пэлтроу неизбежна, стали разрабатываться различные сцены смерти маньяка Джона Доу. Дэвид Финчер допускал варианты, где Доу будет застрелен Сомерсетом или где Доу убьет Миллза, а потом Сомерсет выстрелит в него самого.
Был даже вариант концовки, где Сомерсет оказывается в больнице после выстрела Миллза. Но не было объяснения, по какой причине Миллз стрелял в напарника, а также непонятно, что стало с Доу. В таком случае смысл концовки фильма «Семь» был бы полностью искажен. Ведь по задумке преступника именно он был шестой жертвой греха, человеком, обуянным завистью к «простым людям». Миллз при этом стал носителем седьмого порока — гнева.
Фильмы, похожие на «Семь»
«Молчание ягнят», 1990
Неизвестный психопат убивает женщин, снимая с них кожу. ФБР, не найдя никаких зацепок, посылает молодого детектива Клариссу Старлинг к маньяку Ганнибалу Лектору за помощью. Девушка просит его составить психологический портрет убийцы. Постепенно между ней и Лектором возникает эмоциональная связь, они вместе выходят на след убийцы и раскрывают запутанное дело.
«Имитатор», 1995
В Сан-Франциско одно за другим происходят жестокие убийства. Становится понятно, что это дело рук серийного маньяка-имитатора. Он повторяет злодеяния знаменитых убийц, и никто не знает, кто окажется очередной жертвой. Писатель Хелен Хадсон — эксперт по психологии серийных убийц, помогает следователям выйти на след преступника.
«Власть страха», 1999
Линкольн Райм был успешным криминалистом, но теперь — парализованный пенсионер. Но когда в городе начинает орудовать маньяк, полицейские обращаются к Райму за советом и помощью. Вместе с телохранительницей Амелией они раскрывают преступника и предают его правосудию.
«Всадники апокалипсиса», 2009
Полицейский Эйден Бреслин, чтобы отвлечься от гибели жены, берется за сложное дело. Некий маньяк совершает извращенные убийства в стиле пророчества из Библии о четырех Всадниках Апокалипсиса. Позже оказывается, что эти преступления связаны с самим Эйденом. И у него все меньше времени, чтобы найти убийцу.
Сомерсет (а не Миллз) убивает Доу.
11.57%
Доу убивает Миллза.
3.93%
Та, которая в фильме.
71.4%
Проголосовало: 916
Павел Лебедев
Журналист, филолог. Читает книги между строк, в фильмах вникает в самую суть. Любимый жанр — фэнтэзи. Умеет видеть необычное даже в самых простых вещах.
| Seven | |
|---|---|
Theatrical release poster |
|
| Directed by | David Fincher |
| Written by | Andrew Kevin Walker |
| Produced by |
|
| Starring |
|
| Cinematography | Darius Khondji |
| Edited by | Richard Francis-Bruce |
| Music by | Howard Shore |
|
Production |
Arnold Kopelson Productions |
| Distributed by | New Line Cinema |
|
Release date |
|
|
Running time |
127 minutes |
| Country | United States |
| Language | English |
| Budget | $33–$34 million |
| Box office | $327.3 million |
Seven (stylized as Se7en)[1] is a 1995 American crime thriller film directed by David Fincher and written by Andrew Kevin Walker. It stars Brad Pitt, Morgan Freeman, Gwyneth Paltrow, and John C. McGinley. Set in a crime-ridden, unnamed city, Seven‘s plot follows disenchanted, near-retirement detective William Somerset (Freeman) and his new partner, the recently transferred David Mills (Pitt), as they attempt to stop a serial killer before he can complete a series of murders based on the seven deadly sins.
Walker, an aspiring writer, wrote Seven based on his experiences of moving from a suburban setting to New York City in the late 1980s, during a period of rising crime and drug addiction. His script was optioned by an Italian film company which underwent financial difficulties and sold the rights on to New Line Cinema. Executives were opposed to the script’s bleak ending and mandated a more mainstream, upbeat outcome. Eager to prove himself after the failure of his first feature film project, Alien 3, Fincher read Walker’s original script which he was sent by mistake and agreed to direct as long as the ending remained. The studio continued its efforts to change the ending, but faced opposition from Fincher and the cast. On a $33–$34 million budget, principal photography took place mainly on location in Los Angeles. Rob Bottin helmed the special effects team responsible for realizing the elaborate murders, using makeup and prosthetics.
Seven received middling test audience results and was not expected to perform well due to its violent and mature content, but it went on to earn $327.3 million worldwide, becoming a surprise success and one of the highest-performing films of the year. Reviews were more mixed, with critics praising Freeman’s performance, but criticizing the dark cinematography, implicit and implied violence, and the bleak ending. Seven revitalized Fincher’s career and helped Pitt transition from roles based on his appearance to more serious, dramatic roles.
Seven is now regarded as one of the best thriller, crime, and mystery films ever made. It remains influential in filmmaking, inspiring a host of imitators of its aesthetic, style, and premise of detectives chasing down serial killers with distinctive methods and motives. The film’s title sequence, depicting the killer preparing for his actions later in the film, is considered an important design innovation and also influential on future credit sequences, while Seven‘s twist ending has been named as one of the best in cinematic history.
Plot[edit]
In a city overcome with violent crime and corruption, disillusioned police detective, William Somerset, is one week from retirement. He is partnered with David Mills, a short-tempered but idealistic detective who recently relocated to the city with his wife, Tracy. On Monday, Somerset and Mills investigate an obese man forced to eat until his stomach burst, killing him, and uncover the word «gluttony» written on the wall. Somerset fails to get himself and Mills reassigned to another case, believing it is too extreme for his last investigation. The following day, the second victim, greed, is found, having been forced to cut a pound of flesh from his body. Clues at the scene lead Somerset and Mills to the sloth victim, a drug-dealing pederast, who they find emaciated and restrained to a bed. Photographs reveal the victim was restrained for exactly one year. Somerset surmises that the murders are based on the seven deadly sins.
Tracy invites Somerset to share supper with her and Mills, helping the detectives overcome their mutual hostility toward each other. On Friday, Tracy meets privately with Somerset as she has no other acquaintances in the city. She reveals her unhappiness at moving there, especially after learning she is pregnant, and believes the city is an unfit place to raise a child. Somerset sympathises with Tracy, having convinced his former girlfriend to abort their child for similar reasons and regretting it ever since; he advises her to inform Mills only if she intends to keep the child.
A comment by Mills inspires Somerset to research libraries for anyone checking-out books based on the seven deadly sins, leading the pair to the apartment of John Doe. The suspect returns home unexpectedly and is pursued by Mills, who is incapacitated after being struck with a tire iron by Doe. Mills is held at gunpoint momentarily, but Doe chooses to flee. The police investigate Doe’s apartment, finding a large amount of cash, hundreds of notebooks revealing Doe’s psychopathy, and photos of some of his victims, including images taken of Somerset and Mills by what they believed was an intrusive journalist at the Sloth crime scene. Doe calls the apartment and speaks of his admiration for Mills.
On Saturday, Somerset and Mills investigate the fourth victim, lust, a prostitute raped with a custom-made, bladed strap-on by a man held at gunpoint. The pride victim is found the following day, a model who took her own life rather than live without her beauty, after being facially disfigured by Doe. As Somerset and Mills return to the police station, Doe arrives and turns himself in. He threatens to plead insanity at his trial, potentially escaping punishment, unless Mills and Somerset escort him to an undisclosed location where they will find the envy and wrath victims. During the drive there, Doe explains that he believes himself to be chosen by God to send a message about the ubiquity of and apathy toward sin. Doe has no remorse for his victims, believing the shocking murders will force society to pay attention to him.
Doe leads the detectives to a remote location, where a delivery van approaches. Somerset intercepts the vehicle and opens a package the driver was instructed to deliver to Mills at this specific time. Horrified at what he finds inside, Somerset tells Mills to put his gun down. Doe reveals that he himself represents envy because he envied Mills’ life with Tracy, and implies the package contains her severed head. He urges Mills to become wrath, telling him that Tracy begged for her life and that of her unborn child, and takes pleasure in realizing that Mills was unaware of the pregnancy. Despite Somerset’s pleas, the distraught and enraged Mills shoots Doe to death, completing his plan. As the catatonic Mills is taken away by the police, Somerset tells his captain that he will «be around.» A narration by Somerset says: «Ernest Hemingway once wrote ‘The world is a fine place and worth fighting for.’ I agree with the second part.»
Cast[edit]
- Brad Pitt as David Mills: A well-meaning but impulsive homicide detective[2]
- Morgan Freeman as William Somerset: A veteran police officer disillusioned with his job[2][3][4]
- Gwyneth Paltrow as Tracy Mills: Detective Mills’ pregnant wife[2][5]
- R. Lee Ermey as Police Captain: The detectives’ grizzled superior[6]
- John C. McGinley as California: A SWAT team leader[7]
- Kevin Spacey as John Doe: A serial killer inspired by the seven deadly sins[7][5]
- Richard Roundtree as Martin Talbot: The district attorney[8]
Seven also features Julie Araskog as Mrs. Gould, John Cassini as Officer Davis, Reg E. Cathey, Peter Crombie, and Richard Portnow as, respectively, Doctors Santiago, O’Neill, and Beardsley, Richard Schiff as Mark Swarr, and Mark Boone Junior as «greasy FBI Man.» Hawthorne James appears as George, the library night guard, Michael Massee portrays «man in massage parlour booth», Leland Orser plays «crazed man in massage parlour», Pamala Tyson portrays a thin vagrant outside Doe’s apartment,[9] and Doe’s delivery man is played by Richmond Arquette.[10]
Doe’s victims include: Bob Mack appears as Gluttony, a morbidly obese man force fed until his stomach bursts; Gene Borkan portrays Greed, a criminal-attorney forced to cut off his own flesh; and Michael Reid MacKay appears as the Sloth victim, Theodore «Victor» Allen, a drug dealer and child abuser.[11][12][7] Cat Mueller portrays the Lust victim, a sex worker impaled with a bladed sex toy, and Heidi Schanz appears as model Rachel Slade, Pride, who is disfigured by Doe.[11][12] Writer Andrew Kevin Walker makes a cameo appearance as a corpse investigated by Somerset during the film’s opening scene,[13] Freeman’s son, Alfonso, appears as a fingerprint technician, and columnist George Christy portrays the police department janitor scraping Somerset’s name from his door.[13][10][14][15][16]
Production[edit]
Writing[edit]
Andrew Kevin Walker, moved from the suburbs of Pennsylvania to New York City in 1986, and described the «culture shock» of living in a city undergoing a period of significant rises in crime and drug abuse.[13] While working as a sales assistant for Tower Records in 1991, the aspiring screenwriter began writing a spec script, Seven, set in a bleak and gloomy (unnamed) city inspired by his «depressing» time in New York.[a] Walker said, «it’s true that if I hadn’t lived there I probably wouldn’t have written Seven … I think it’s that way for anything—the right time and the right mood, and the right inspiration, whatever inspiration is. That’s what’s so scary about writing.»[22][19][21] Film studios were eager for high concept spec scripts, and Walker believed his thriller about police officers pursuing a serial killer driven by the seven deadly sins would attract attention and help begin a professional writing career.[20][19][22][13]
Walker intended to leave the narrative open to interpretation so as to not invalidate the opinions of his prospective audience. He wanted to defy the audiences’ expectations and leave them feeling «violated and exhausted» by the conclusion, because «there’s lots of evil out there, and you’re not always going to get the satisfaction of having any sort of understanding of why that is. That’s one of the things that scares people the most about serial killers.»[23] For the killer, Walker recounted his own experiences of walking down the city streets and observing crimes and sins being openly committed on every corner, and what would happen if someone was specifically focused on these sins.[13] He had Doe surrender himself to the police because it would rob the audience and characters of the anticipated satisfaction and make them uncomfortable leading into the finale.[24]
The script was optioned in the early 1990s by Italian company, Penta Film, under manager Phyllis Carlyle. Walker was paid the minimum fee allowed by the Writers Guild of America, which he described as not being «fuck you money,» but enough to quit his job, relocate to Los Angeles, and work on Seven.[18][19][13]
Development[edit]
To helm the project, Penta Film hired director Jeremiah S. Chechik, who had recently directed the successful comedy film, National Lampoon’s Christmas Vacation (1989), and was looking for a more serious project. However, Chechik and Penta Film mandated several script changes, including removing the bleak «head-in-the-box» ending, in which the decapitated head of Tracy is delivered in a box.[4][18][20][17][13] Given the option to refuse the requests and risk being replaced or the project cancelled, Walker acquiesced, writing a more mainstream ending in which the detectives confront Doe in a church, described as either burnt-out or actively on fire.[17][20][18] In this version, Doe embodies the sin of Envy and kills Mills before being shot dead by Somerset, while a pregnant Tracy leaves the city.[25][20][18] In a 2017 interview, Walker said he felt that he was ruining his script and should have left the project.[18] In total, he wrote thirteen different drafts to meet the studio demands.[26] The project failed to progress and as the option was expiring and Penta Film was experiencing financial difficulties (eventually dissolving in 1994), the studio sold the rights to producer Arnold Kopelson, who brought it to film studio, New Line Cinema.[18][19][20][27] Chechik also left the project, with Guillermo del Toro and Phil Joanou approached to replace him; Joanou turned it down because he found the story too bleak.[17][28][29]
David Fincher was mainly known for directing popular music videos, such as «Janie’s Got a Gun», «Vogue», and «Who Is It». His only feature film, Alien 3 (1992), had been a negative experience which tasked him with filming without a complete script, and its studio, 20th Century Fox, significantly modified the film in editing, against Fincher’s wishes. Fincher disowned the film, saying «I’d rather die of colon cancer than make another movie.»[30][31][32][4] Even so, his agent brought him the Seven script. Fincher was uninterested in the police procedural aspects but found himself drawn in by the gradual reveal of Doe’s plans, saying «I found myself getting more and more trapped in this kind of evil … and even though I felt uncomfortable about being there, I had to keep going.» He determined the script matched his own creative sensibilities, particularly its «meditation on evil and how evil gets on you and you can’t get it off,» and uncompromising ending in which «[Tracy’s] been dead for hours and there’s no bullshit chase across town and the guy driving on sidewalks to get to the woman, who’s drawing a bath while the serial killer sneaks in the back window.»[b] Fincher expressed his interest to the studio, and it was realized that he had been sent Walker’s original script. New Line Cinema sent Fincher a current draft in which Tracy survived, but he would only agree to direct the original script. He met with New Line Cinema’s president of production, Michael De Luca, who also preferred the original script and the pair agreed to start filming that version in six weeks, believing delaying any longer risked executives noticing their plan and interfering.[c]
Despite their efforts, Kopelson and studio executives made efforts to lighten Seven‘s tone and change the ending.[d] Fincher was resistant to any changes, unwilling to compromise his creative control or vision.[32][28] De Luca remained supportive of Fincher, and the original ending gained further backing as the project secured prominent actors, including Freeman, Pitt, and Spacey.[13][20][22][21] In particular, Pitt said he joined Seven on condition that the head-in-the-box ending be retained, and that Mills «[shoots] the killer in the end. He doesn’t do the ‘right’ thing, he does the thing of passion.» He was upset that the original ending to his previous film, Legends of the Fall (1994), had been cut in response to negative test audience results.[35][25] Kopelson was convinced to support Fincher after being reassured that the decapitated head would not be shown, saying «it needed this horrendous event to kick off the last sin, wrath,» that would be discussed for decades.[24][33] Walker said, «there’s nothing wrong with [positive] endings, it’s just that the dark ending of Seven was what it was about. To change the ending to something else was to remove the very heart of the story.[24][13]
Walker performed some script refinements, including extending a chase sequence depicting Mills cautiously pursuing Doe, aiming to avoid typical cinematic chases in which characters frantically pursued their target. He said, «I always thought, ‘God, if someone was shooting at me, I would be terrified to turn any corner!'»[20][36] A shooting script was completed by August 1994.[20][4]
Casting[edit]
Kevin Spacey (pictured in 2013) was a late addition to Seven as the studio did not want to pay his fee. Ned Beatty was offered the role of John Doe because of his resemblance to the 1969 composite sketch of the Zodiac Killer (right).
Pitt had established himself as a credible film star following successes with Interview with the Vampire (1994) and Legends of the Fall, but Fincher had not considered him to portray Mills because «I’d never seen Mills as particularly accomplished, and I was concerned that [Pitt] seemed too together. But when I met him, I thought, this guy is so likable he can get away with murder—he can do anything and people will forgive him for it.»[19][2][33] Conscious of Pitt’s popularity and importance to Seven‘s potential success, Kopelson shortened the pre-production schedule to five weeks from twelve to fit his schedule.[2] Pitt turned down several offers from other films because he wanted to escape his typecasting as a romantic lead character in favor of something with a more «documentary feel» with urban settings and a focus on dialogue, akin to thriller films such as The Conversation (1974).[2][19] He said, «I just wanted to escape the cheese … I came to find out [Fincher] had a lactose intolerance as well, so I was very happy about it.»[2] Pitt described Mills as a well-intentioned «idiot» who «speaks before he really knows what he’s talking about.» He cut his hair for the role and lost weight to reduce the muscle he developed for Legends of the Fall.[2] Sylvester Stallone and Denzel Washington turned the role down.[37][38][39][29]
Walker named the Somerset character after writer W. Somerset Maugham.[4] Walker envisioned William Hurt playing the character, but Fincher cast Freeman; the studio was concerned that pairing a black and white detective would make Seven seem derivative of the action film Lethal Weapon (1987).[40] Robert Duvall, Gene Hackman, and Al Pacino turned the role down.[4][22][41][42][43] The script was modified further after Pitt’s and Freeman’s castings to better match their acting styles; Mills was made more verbose, and Somerset’s dialogue was trimmed down, being made more precise and direct.[44] Robin Wright auditioned for, and Christina Applegate turned down the role of Tracy before Paltrow was cast. She was recommended by Pitt who had been impressed by her Legends of the Fall audition.[29][2][10] Fincher also preferred Paltrow, but was told by those involved that she would not be interested in a «dark» film like Seven. He auditioned about 100 people before Pitt contacted her directly to meet with them.[33] Fincher said Tracy is «so important because it’s the only sunshine we have in the film. This is the feel-bad movie of [1995] … we needed someone who could take those little seconds she gets and fill them with soul, and that’s what I’d always seen in her performances.»[2]
Fincher and Walker wanted Ned Beatty to play John Doe, because of his resemblance to the 1969 composite sketch of the Zodiac Killer; Beatty declined, describing the script as the «most evil thing I’ve ever read.»[45] Michael Stipe, lead vocalist of the rock band R.E.M., was considered but the filming dates conflicted with the band’s tour, Val Kilmer declined the role, and R. Lee Ermey auditioned, but Fincher said his portrayal was «completely unsympathetic» without any depth.[46][47][29] Kevin Spacey was preferred by Pitt, but executives refused to pay his salary.[45][22][13] Doe’s scenes were initially filmed with an unknown actor portraying Doe, but the filmmakers quickly decided to replace them and Pitt helped negotiate Spacey’s involvement. Spacey recalled, «I got a call on a Friday night, and on Monday morning I was on a plane to Los Angeles, shooting on Tuesday»; he filmed his scenes in twelve days.[45][22][13][48] Spacey wanted his name omitted from the film’s marketing and opening credits to ensure the killer’s identity remained a secret.[45][22][13][46][48] He said, «I’d just done Swimming With Sharks (1994), The Usual Suspects, and Outbreak (both 1995) … I knew that if any of those movies did well, my profile would be … different. How would that affect my billing in Se7en? If I’m the third-billed actor in a movie where the top two billings are trying to find somebody and they don’t find that somebody until the last reel, then it’s obvious who that somebody is. It was a bit of a shit-fight for a couple of days, but I felt very strongly that it was the right thing to do for the movie. We finally won because it was a deal-breaker; I was either going to be on a plane to shoot the movie or I wasn’t.»[48]
The 480 lb (220 kg) Bob Mack made his theatrical debut as Gluttony, described as a «very heavy guy face down in spaghetti.» Gene Borkan was cast to play the Greed victim because the filmmakers wanted someone who resembled lawyer Robert Shapiro. He did not realize his character would already be dead and refused a request to perform nude, telling Fincher «I’ll be naked if you’re naked. Otherwise, you don’t get that.» On the set, when he realized what his scene entailed, Borkan renegotiated his salary, receiving «five times [the $522 Screen Actors Guild day-scale fee].»[11] Michael Reid Mackay’s (Sloth) audition involved him portraying a corpse who slowly turned his head towards the camera; it was deemed «creepy» enough.[11][7] Set decorator, Cat Mueller, portrayed the Lust victim after Fincher’s assistant said she had the personality and body to portray a «dead hooker.» She received $500 for six hours of filming over two days, but described being nude in front of Pitt as a perk. Model, Heidi Schanz, was cast as the Pride victim after the previous actress dropped out. Running low on time, Fincher wanted a model with existing headshots and pictures that could be displayed in the character’s apartment. She said, «even though I’m dead, I think it’s the most glamorized murder.»[11] The film’s content made casting and crewing Seven difficult; Gary Oldman turned down an unspecified role, Fincher’s former costume designer declined to work on the film, and talent agents refused to pass offers on to their clients, describing Seven as «evil and misogynistic.»[28][33]
Filming[edit]
Seven was filmed mainly in downtown Los Angeles (pictured in 2016)
Principal photography began on December 12, 1994, and concluded on March 10, 1995.[49] Assistant director, Michael Alan Kahn, recalled the commencement of filming: «I went up to Fincher and I said, ‘Look at this! Look! It’s here! We’re here! You did it! We’re shooting a movie … isn’t this amazing? …’ And he looked at me as though I were from outer space and said, ‘No, it’s awful … now I have to get what’s in my head out of all you cretins.'»[28] Walker was on set throughout filming to provide suggestions or on-spec rewrites, but did not give Fincher much input, believing he should adapt the script as he wanted.[4]
Location shooting took place entirely in downtown Los Angeles.[22][50] Fincher wanted to shoot in Oakland, California, because it had «beautiful clapboard houses,» but the schedule would not allow for this.[50] The film’s near constant rain was a pragmatic decision, as Pitt was only available for a total of fifty-five days before he began filming 12 Monkeys (1995), and it often rained during filming so to avoid any continuity errors Fincher decided to have near-constant rain. He also believed it introduced an inescapable element for the characters, because conditions were bad inside and outside, and made it appear less like Los Angeles which was associated with sunny weather.[51][50][33]
Seven‘s aesthetic was influenced by films such as All That Jazz (1977), The Silence of the Lambs (1991), and The French Connection (1971), as well as the «vulnerable» over-the-shoulder viewpoint of documentary television show, Cops.[50][10] Cinematographer Darius Khondji also named the crime thriller, Klute (1971), as a significant influence because of its «use of toplight … widescreen compositions for intimacy rather than big vistas, the way that vertical strips of the city are shown in horizontal mode, the fragments of faces and bodies … the look of Se7en has this heightened sense of realism—a realism that’s been kicked up several notches and becomes its own style.»[52][26][50] Fincher singled out one scene in Klute, in which the only illumination is the character’s flashlight, saying he disliked other films where characters state that visibility is low but the audience can see the scene clearly.[26][50] Khondji used a mixture of lighting, such as the warm light of Chinese lanterns to represent the past and present, and the cold light of Kino Flos to represent the future.[52]
The studio was unhappy with how dark the dailies were; Khondji suggested printing the footage brighter, but Fincher refused to compromise. Available footage was made into a well-received promotional showreel for the theater owner convention, ShoWest, after which complaints about the darkness ceased.[52][26][50] Khondji used Panavision Primo lenses which offered a sharp image with good contrast, and Kodak film stocks which could capture the «gritty» interiors and deep blacks for night-time exteriors.[53]
The scene in which Mills pursues Doe was described by Khondji, as one of the most difficult scenes to film due to its length as well as fast camera movements in the rain or tight interior spaces that were barely lit. One segment had to be re-filmed because the location was too dark for the camera to capture Freeman’s face.[52] Pitt also insisted on performing his own stunts for the scene, and slipped on a rain-slicked car bonnet, crashing through the windshield and sustaining injuries including cut tendons and nerves in his left hand; Fincher said he saw exposed bone. He returned to the set a few days later, having received stitches and a forearm cast which had to be written into later scenes. For scenes set prior to the chase, Pitt would keep his hand in his pocket or otherwise obscured to hide the injury.[46][2][19][52] Pitt said he regretted not disrobing for a separate scene of Mills and Somerset shaving their chests to wear concealed listening devices. He disliked the public attention given to his body, but later came to believe that taking his shirt off would have conveyed the growing partnership between Mills and Somerset.[14]
The crew had to clear used condoms and crack pipes from the location of the Sloth victim sequence, replacing those with prop crack pipes and air fresheners.[52] The actors were not told the Sloth victim was a person in costume, and McGinley’s shock at the body moving was real.[7][22] Lights with green color gels were shone through the window from the adjacent building to give everything a green tint.[52] Leland Orser, who portrays the man forced to kill the Lust victim, deprived himself of sleep to achieve a «deranged mindset»; his scene was pushed back so he stayed awake another night. He would breathe rapidly between scenes to make himself hyperventilate on camera.[14] The ending was scripted to take place directly beneath transmission towers, a location picked by Doe to interfere with the police communications, but it actually interfered with the film crew radios, and the actors had to use cell phones to communicate with the crew from afar.[46]
Ending and post-production[edit]
The ending remained a point of contention between New Line Cinema and the filmmakers. Fincher wanted to follow Mills shooting Doe with a sudden cut to black, intending to leave the audience stunned, but executives believed this would alienate audiences.[25][54][35][24] Fincher instructed staff at a test screening to keep the lights off following the cut to black so the audience could take it in; his instructions were not followed. Afterward, one female audience member walking by Fincher said, «the people who made that movie should be killed.» Fincher said the screening invitation said, «Would you like to see a new movie starring Brad Pitt and Morgan Freeman,» both known for films very different in tone to Seven, «I don’t know what the fuck they thought they were gonna see … but I’m telling you, from the reaction of the people in there, they were bristling. They couldn’t have been more offended.»[46] Executives wanted a mainstream conclusion in which Mills and Somerset pursue Doe and a kidnapped Tracy, who would survive. Pitt recalled, «[the studio says] ‘You know, he would be much more heroic if he didn’t shoot John Doe—and it’s too unsettling with the head in the box. We think maybe if it was [Mills’] dog’s head in the box.'» Freeman preferred a storyboarded sequence of Somerset killing Doe, sparing Mills from losing his career as well, but Pitt believed Mills had to kill Doe and test audiences preferred that version. Another alternative depicted Mills shooting Somerset to stop him killing Doe before he could. Fincher and Pitt refused to compromise on the head-in-the-box ending but settled for a longer epilogue showing Mills being arrested and Somerset delivering a concluding narration offering some optimism.[25][54][35][24][46]
Pitt and Fincher were unhappy with the car ride scene leading into the ending because the dialogue had to be dubbed over as too much ambient sound had been picked up during filming. Pitt believed this caused the scene to «lost its breath,» affecting the pacing and emotion. The helicopter scenes were also filmed in post-production as there was no time during principal photography, but the studio agreed extra time and funding if the scenes were deemed necessary. Filmed several months later, the green ground had turned brown and so the ground-based scenes had to be color corrected to match the new footage.[46] The opening credits were scripted to be set over footage of Somerset visiting a countryside home he intended to purchase for his retirement, taking a piece of the wallpaper that he would carry through the film, before returning to the city by train. This was intended to create a stark contrast between the countryside and the darkness of the city, but there was insufficient budget to film it. Scenes of Somerset looking at the wallpaper piece had to be cut as a result.
Richard Francis-Bruce edited the 127 minute theatrical cut.[55][24] His style focused on «having a motivated cut,» believing every cut needed to be done with a specific purpose. For the finale, he introduced more rapid cuts to emphasize the tension as Doe’s plan is revealed, and a brief four frame insert of Tracy as Mills pulls the trigger, to compensate for not showing the contents of the box.[24] To emphasize the darkness, Fincher and Khondji used an expensive and lengthy bleach bypass chemical process which retained more of the silver present in the filmstock which would normally be lost. The silver created a luminous effect in lighter tones and deeper darker colors.[22][30][50] Of the 2,500 prints sent to theaters, only a few hundred used the process.[50]
Seven was budgeted at $30–$31 million, but Fincher convinced studio executives to provide further funding to achieve his vision for the film, eventually pushing it $3 million over budget, to a total of $33–$34 million, making it New Line Cinema’s most expensive film at that point.[20][4][33][56][34][57][e] A studio employee said studio executives «would go into these meetings with [Fincher], saying, ‘Absolutely not, not a penny more’ … but he was so relentless and persuasive that they’d come out all ga-ga-eyed, and give him more money.»[56] About $15 million of the budget was spent on below-the-line costs.[34][57]
Music and sound[edit]
Fincher hired Howard Shore to score Seven, based on his score for The Silence of the Lambs.[58] Shore said Fincher would attend recording sessions but rarely interfered with Shore’s process.[28] Performed by an orchestra of up to 100 musicians, the score combines elements of brass, percussion, piano, and trumpets. «Portrait of John Doe» serves as the central theme with two cue notes; a rising version is used for Tracy’s appearances.[58][59][24] Shore described the film’s ending as having a «visceral, kind of primal effect on me.» He incorporated his reaction into the sequence’s score, providing little accompaniment during the dialogue between Mills, Somerset, and Doe, but using it to punctuate significant moments such as Somerset opening the box. Shore said «the music starts, and it turns the scene, it turns it into John Doe’s perspective … the music enters, and you realize, the look of the horror on his face, it’s a chilling moment.»[24]
Shore’s opening theme, «The Last Seven Days», described as a more «upbeat» piece, was replaced by a remix of industrial rock band Nine Inch Nails’s «Closer» by Coil and Danny Hyde.[58][60][61] David Bowie’s «The Hearts Filthy Lesson» is used for the end credits.[62][58][63] Seven features songs including: «In the Beginning» by The Statler Brothers, «Guilty» by Gravity Kills, «Trouble Man» by Marvin Gaye, «Speaking of Happiness» by Gloria Lynne, «Suite No. 3 in D Major, BWV 1068 Air» by Stuttgarter Kammerorchester and Karl Münchinger, «Love Plus One» by Haircut One Hundred, «I Cover the Waterfront» by Billie Holiday, «Now’s the Time» by Charlie Parker, and «Straight, No Chaser» by Thelonious Monk.[59]
Fincher hired his friend Ren Klyce as sound designer. They inserted sounds on the outside of each frame, such as raining or screaming, to create a psychological impression that terrifying things are occurring even when the audience cannot see or escape it. Klyce and sound designer Steve Boedekker also produced the music heard at the entrance to the Lust murder sex club.[64][65]
Design[edit]
Style and set design[edit]
Fincher, Khondji, production designer Arthur Max, and costume designer Michael Kaplan, collaborated on establishing a unified vision for the art direction.[52] Fincher established the design rules for the film: «This is a world that’s fucked up and nothing works.» He wanted every design aspect to look neglected and in a state of decay.[28] Fincher was influenced by the photography of William Eggleston, focused on «coolness», making the visuals simultaneously gritty and stylized as well as classic and contemporary, and the black-and-white photographs of Robert Frank. Khondji said Frank’s style could be seen in Seven‘s very bright exteriors and dark interiors. Many interior scenes were underexposed to create a stark contrast, which in turn made the exteriors stand out more. Interior lighting was also often provided by external sources, using only a few interior artificial lights. The end scene with Mills, Somserset, and Doe, featured inconsistent lighting because the actors were always lit from behind by the sun regardless of where they were standing in the scene, which Khondji described as «a bit of a nightmare and never realistic in terms of continuity.»[52]
Fincher wanted precise staging for every scene to make the audience feel as if they were in the location. He had sets built without removable walls so that they had to film within the confined of the sets, believing it was important to create limitations to challenge himself.[50] Doe’s murder scenes were influenced by photography, such as the work of Joel-Peter Witkin.[52] The «gluttony» set was wrapped in plastic to contain the cockroaches and a cockroach wrangler was used to help control them.[14] The Sloth scene, in particular, took influence from the work of painter Edvard Munch, drawing on the green and «claustrophobic» imagery.[52] The «Lust» sex club ceilings were lowered to make the space more claustrophobic and was sprayed on the walls for texture and to imply that they were covered in bodily fluids. A former bank was used as the library and 5,000 books were rented to fill the space, supplemented with fiberglass replicas. The shaking in Mills apartment, caused by a passing train, was created using gas-powered engines attached to the set. Walker’s script described Doe’s home extensively, with windows painted black for privacy and a drawer filled with empty painkiller bottles to help Doe cope with regular headaches.[14]
Victims[edit]
Rob Bottin led development of practical effects. He researched crime scene photos and police evidence files, observed an autopsy, and studied the effects of obesity to realize his designs.[66] For the Gluttony victim, Mack spent up to 10 hours a day having makeup and prosthetics applied. A scuba-like device was used to let Mack breathe while facedown in spaghetti.[14][46] Mack recalled how he was unaware that he would be surrounded by live insects until reading the daily call sheet and noticing a «cockroach wrangler»; Pitt would flick some roaches off of Mack between takes.[11] The character’s autopsy used a fiberglass replica with a deliberately enlarged penis; Fincher said after Mack spent so long in makeup for 30 seconds of screentime, that he could «at least give him a huge cock.»[14][46]
Bottin’s team spent eleven days experimenting on the right aesthetic and prosthetics for the Sloth victim portrayed by MacKay.[7][66] MacKay was 5.5 ft (170 cm) tall and weighed only 96 lb (44 kg) to 98 lb (44 kg) during filming, offering a slight frame for the emaciated character. The filmmakers asked him to lose more weight but he declined.[11][7] The effects team made a body cast of MacKay to develop rubber prosthetics that could be applied all over his body. The appliances were painted to appear bruised and scarred, veins were airbrushed onto MacKay, and he was fitted with gelatin sores, overgrown fingernails, skeletal teeth, and matted hair. The process took up to 14 hours, requiring MacKay to begin at 5am for filming at 8pm. He was brought to the set in costume, and Freeman quipped, «you don’t look so good.»[7][66] He described filming the scene as «real heavy-duty,» and was left «breathing very hard and crying.»[11][7] He had to remain relatively still over four hours of filming, having to limit his breathing to prevent his stomach rising and falling, and the cold set was worsened by makeup artists repeatedly spraying his body with water. Unable to move, he tensed his muscles to warm himself. He described the moment he was permitted to cough in McGinley’s inspecting face as a «great relief,» as he could move and breathe again.[67]
For Schanz’s Pride victim, Fincher personally added blood to her, while her nose was taped to the side and her face covered in gauze.[11] To secure the film’s release, several scenes of Bottin’s effects work had to be cut.[66] Fincher described Seven as psychologically violent, implying violence without showing it in action.[50] Walker portrays the opening scene corpse, lying in a pool of blood. He said the blood was very cold, and had a minor panic attack once in place because he was worried about moving and ruining the shot.[13]
Title credits[edit]
Following the removal of the planned opening train ride with Somerset, Fincher needed a temporary title sequence to screen Seven for studio executives.[22][68][60][61][36] He recruited R/GA designer, Kyle Cooper, and his team to assemble a montage slideshow reflecting Doe’s perspective. This helped establish the character and his threat earlier in the film as he would not physically appear until Seven‘s final act.[22][68][61][36] The sequence was set to the «Closer» remix at Fincher’s request.[68][61]
The sequence was well received by executives who suggested retaining it for the theatrical release. Fincher did not want to appear as if he was accepting their suggestion and instructed Cooper to develop a new concept; Cooper convinced Fincher to use a more elaborate and detailed version of his slideshow.[68] Cooper focused on Doe’s elaborate journals, glimpsed briefly in the film, while Fincher suggested the sequence physically involve Doe.[68][36] Fincher wanted Mark Romanek to direct the sequence, being a fan of his music video for «Closer» and sharing similar design sensibilities, but Cooper secured the role because of his previous experience on similar title sequences.[68][61] Fincher told Cooper, «all I want is for the audience to want to run screaming from the theater during the title section.»[60]
The sequence depicts Doe’s preparations and routines for his murderous plans, such as cutting off his fingertips, processing photographs in his bathtub, and making tea (inspired by Cooper’s appreciation for the «elegant» way Doe stirs his tea following his surrender). As Doe writes in his journals, the sequence focuses on him crossing out words such as «pregnancy,» «marriage,» and other elements representing concepts of a «perfect life» that he does not believe people deserve.[68][60] Fincher said, «it was a way of introducing the evil. The idea was that you’re watching title sequences from the mind of somebody who’s lost it … [the audience] won’t understand while they’re watching it, but they’ll get it later.»[60] Doe’s journals were made by Clive Piercy and John Sabel, and cost tens of thousands of dollars to fill each one with text and images; about six complete journals were made, supplemented by blank ones on the shelves.[68][61][60] Artist Wayne Coe storyboarded the sequence, which was edited by Angus Wall and shot by Harris Savides.[61] Cooper regularly conferred with Wall on ideas, and spent the night before filming locating items that he believed would make interesting inclusions such as fish hooks and loose hairs from his drain.[68]
Filming took place over eight days, including two days filming a hand model stand-in for Doe.[60][36] Fincher was upset at the casting as the model’s hands were shorter and chunkier than Spacey’s.[60][68] A further five weeks were spent putting the sequence together.[68] Although digital options were available, Cooper’s team opted to assemble the sequence by hand, believing that any irregularities and accidents in the images incurred would enhance the overall aesthetic, and added manual scratches, tears, and pen marks direct to the film negative.[69][61] Fincher and Cooper devised a rough-looking text for the credits to appear as if written by a «disturbed hand.» Fincher said: «I always liked the idea that the titles would be written by Doe, hand-lettered … [Cooper and I] wanted to have them look personal, not typeset. I liked that it wasn’t slick.»[60][61][68] The text was etched onto a black-surfaced scratchboard and visually manipulated while being transferred to film to add a smear effect combined with different variants of the same text achieved by placing the text over a light box and filming them over-exposed, creating an animation-style effect.[61][68] «Disquieting» sounds were added throughout the sequence at a low frequency, such as barking dogs and screams. The title sequence cost $50,000.[60][61]
Release[edit]
Context[edit]
The theatrical box office of 1994 had achieved record grosses, with nine films earning more than $100 million, and the highest attendance (1.29 billion) since 1960 (1.3 billion). However, by 1995, the average cost of making and marketing a film had doubled since 1990, reaching $50.4 million, making it more difficult to turn a profit.[70][71] The rising salary cost of actors was a contributing factor, as studios vied to secure popular actors, such as Harrison Ford, Jim Carrey, Tom Cruise, and Arnold Schwarzenegger, who could generally guarantee a minimum level of box office success and held broad appeal outside of the United States (U.S.) and Canada.[71] If notable stars were unavailable, studios were forced to pay exorbitant salaries for lesser stars and pay other cast lower salaries to offset the costs.[71] The 1995 theatrical box office was in a downturn, the first quarter being about $90 million lower than the same period in 1994. Markets outside of the U.S. and Canada were growing, accounting for 41% of a film’s total revenue, including theatrical and home media profits, and outperforming the U.S. and Canadian box offices for the first time in 1994.[70] Anticipated films such as Batman Forever, Crimson Tide, and Pocahontas, were scheduled for release alongside the most expensive film of its time, Waterworld,[72][70] but New Line Cinema had low expectations for Seven, based on middling scores from test audiences.[73]
Marketing[edit]
New Line Cinema’s marketing president, Chris Pula, called the advertising campaign «risky» because it had to «prepare people» for Seven‘s violent and dark content while making it a topic of discussion among potential audiences.[74] Early trailers and newspaper, television, and radio advertisements focused on the seven sins, presenting Seven as an «edgy» prestige film instead of a jumpscare-style horror. Entertainment professionals also believed violent or horrific films had a limited appeal and rarely received positive reviews. Fincher’s public image had also been tarnished by the failure of Alien 3, and although Freeman and Pitt were proven stars capable of attracting audiences, New Line Cinema struggled to capitalize on Pitt’s popularity. His core audience, teenage girls, were not the target audience for Seven, and research showed that young men would avoid taking a romantic partner to films featuring him because they felt «threatened» by his appeal. The positive word-of-mouth following Seven‘s theatrical release led the marketing campaign to shift focus toward targeting Pitt’s female fans.[73]
The premiere of Seven took place on September 19, 1995, at the Academy of Motion Picture Arts and Sciences in Beverly Hills, California. The event featured over 800 guests, including Fincher, Freeman, McGinley, Spacey, Tia Carrere, Elliott Gould, Matthew Modine, Lori Petty, Lou Diamond Phillips, Michael Rapaport, Eric Roberts, Robert Rodriguez, Steven Seagal, John Singleton, Christian Slater, Quentin Tarantino, and Jennifer Tilly.[75]
Box office[edit]
Seven was released in the United States and Canada on September 22, 1995.[76] During its opening weekend, Seven earned $14 million across 2,441 theaters—an average of $5,714 per theater—making it the number 1 film of the weekend, ahead of the debut of Showgirls ($8.1 million), and To Wong Foo, Thanks for Everything! Julie Newmar ($4.5 million), in its third week of release.[76][77][78] It became the highest-grossing opening September weekend of its time, replacing 1991’s Freddy’s Dead: The Final Nightmare ($12.6 million).[79] The successful opening was credited to the marketing campaign overcoming audience scepticism, as well as, in part, Pitt’s popularity with males and females, although the opening audience skewed more male, as well as lack of competing action films. New Line Cinema distribution executive, Mitch Goldman, had moved up the release date of Seven to avoid this competition as well as strategically opening the film in more theaters than usual to target suburban and small-town locations where Pitt’s recent films had fared well.[79][73][74]
The film remained number 1 in its second weekend, ahead of the debuts of Halloween: The Curse of Michael Myers ($7.3 million) and Devil in a Blue Dress ($5.4 million), and in its third weekend ahead of the debuting Assassins ($9.4 million) and Dead Presidents ($8 million).[80][81] Seven remained the number 1 film until its fifth weekend, falling to number 3 behind the debuts of Get Shorty ($12.7 million) and Now and Then ($7.4 million), and was among the top ten-highest-grossing films for nine weeks.[74][82][83][76] Seven had grossed about $87 million by the end of December, when it received a wide re-release in select locations to raise the film’s profile during the nomination period for the 1996 Academy Awards.[84] The re-release helped raise Seven‘s box office to about $100.1 million, making it the ninth-highest-grossing film of 1995, behind Casper ($100.3 million), Jumanji ($100.5 million), GoldenEye ($106.4 million), Ace Ventura: When Nature Calls ($108.4 million), Pocahontas ($141.6 million), Apollo 13 ($173.8 million), Batman Forever ($184 million), and Toy Story ($192.5 million).[76][85] Estimates by industry experts suggest that as of 1997, the box office returns to the studio—minus the theaters’ share—was $43.1 million.[86]
Seven also performed well outside of the U.S. and Canada, receiving positive audience reactions and successful debuts in countries such as Australia ($1.8 million), South Korea ($808,009), Seoul ($961,538), New Zealand, and the Netherlands.[87] Seven is estimated to have earned a further $227.2 million, giving it a total worldwide gross of $327.3 million, and making it the seventh-highest-grossing film worldwide, behind Apollo 13 ($335.8 million), Batman Forever ($336.5 million), Pocahontas ($347.1 million), GoldenEye ($356.4 million), Toy Story ($365.3 million), and Die Hard: With a Vengeance ($366.1 million).[76][88][32][f] Seven became one of the year’s most profitable films,.[89] Seven was an «unexpected success» and became «one of the most successful movies of the year.»[74]
Reception[edit]
Critical response[edit]
Critics such as Ebert and Howe described Seven as an intelligent and well-made film that could comfortably stand alongside other thrillers.[g] Others compared Seven unfavorably with The Silence of the Lambs and The Usual Suspects, believing it lacked the same intelligent narrative, and took itself too seriously as an examination of evil instead of a «silly piece of pulp.»[h] The Orlando Sentinel said, however, that Seven did offer a «terrific film-noir atmosphere» and excellent performances, with The Seattle Times saying that the film would be «unendurable» without Freeman and Spacey.[100][101]
Critics unanimously praised Freeman’s performance.[i] Terrence Rafferty and Kenneth Turan wrote that Freeman’s «exceptional» performance was mainly responsible for making Seven watchable in spite of itself.[91][98][101] Desson Howe and James Berardinelli said the performance elevated Pitt’s own to appear «actorly,» although Freeman often stole every scene in which he appeared, providing a fresh take on an otherwise cliché role.[92][93][94][100] Reviews of Pitt’s performance were polarized between those who found it «energetic» and impressive, and those who believed the role was beyond his acting abilities.[j] Some reviewers found his performance to continue his successful transition to more serious roles from those based mainly on his appearance,[102][94][96] although Howe said Pitt’s presence did more for Seven than his acting.[92] The Orlando Sentinel said what could have been a cliché role was saved by Mills not being inept or inexperienced, just out of his depth on this particular case.[100] Some reviews said that the character was underdeveloped, pointless, stupid, and not particularly likeable, and that Pitt’s performance lacked the subtlety or effectiveness to compensate.[k] Critics positively received Paltrow’s performance, believing she made the most of her limited screentime and was generally underutilized, while considering the character a «flimsy contrivance».[l] Spacey’s performance was also praised for its creepy and understated portrayal of an intelligent character who does not undermine themselves with «a moment of sheer stupidity.»[m]
Fincher’s directorial style was praised for its «striking craftmanship», and «stunning» visuals that often thrilled and exasperated the viewer simultaneously.[94][96][92][103] In contrast, Rafferty said that his style was less effective stretched over the film’s runtime and that Fincher mistook darkness for profundity and chose style over coherence.[98][101][95][91] Although Siskel considered Walker’s script to be smartly written,[104] several critics were less enthusiastic, finding the dialogue trite, many scenes implausible, and character motivations weak.[103][101][100] Jami Bernard and Richard Schickel wrote that Seven lacked many of the essentials prevalent of its genre such as suspense, witty dialogue, and cathartic humor, or the psychological depth to match the intellectual thrills of its peer, The Silence of the Lambs.[97][101][105]
The violent content of Seven was generally negatively received.[74] Critics such as Berardinelli and Gene Siskel found the gore excessive and «gratuitous».[n] While some found the violent visuals to be tiresome and detracting, others believed that Fincher skilfully avoided showing the violence that led to the deaths, preventing them from distracting from Seven‘s more enjoyable aspects.[93][100][96] Even so, Ebert and Turan believed Seven would be too disturbing for many viewers.[90][91] Fincher responded, «I didn’t set out to piss off the people who are upset. I was told that Michael Medved [film critic at the New York Post] wrote that the movie was evil, but I’m sure he slows down when he passes an accident just like everyone else. Death fasicnates people, but they don’t deal with it.»[50] Howe and Owen Gleiberman felt the ending was «like an act of treachery against the viewer,» undermining any hope for a positive outcome,[92][96] and Barry Norman said it denied the audience «even of the final comfort they fully deserve.»[106] Roger Ebert, however, found the ending to be «satisfying,» but underwhelming compared to the film’s earlier events.[90] Audiences polled by CinemaScore gave the film an average grade of «B» on a scale of A+ to F.[73][107]
Accolades[edit]
Seven received one nomination at the 68th Academy Awards for Best Editing (Richard Francis-Bruce),[32][108] and Walker was nominated for Best Original Screenplay at the 49th British Academy Film Awards.[109] At the MTV Movie Awards, Seven received three awards, Best Movie, Most Desirable Male (Pitt), and Best Villain (Spacey).[110]
Thematic analysis[edit]
Apathy and hope[edit]
The apathy of the unnamed city’s inhabitants is a central theme in Seven.[31][111][24] Somerset does not believe the city can be saved, intending to retire outside of its confines, and telling Mills that women are taught to yell «fire,» not «help,» because people are more likely to pay attention if they selfishly think themselves in danger.[112][111] Taubin described the city as an infection point for corruption, where signs of violence and decay are omnipresent in its dark corners and rain, as well as the television reports, fights, screams, and children in impoverished apartments. Dyer compared the near ubiquitous rain to films such as Blade Runner (1982), as a constant, near inescapable presence, which in Seven can represent sin seeping into every gap. The bleak aesthetic of the city implies a layer of moral decay and indifference by its inhabitants, that enables Doe’s plan.[89][112][113][114][33] Somerset has not stopped caring, but he has become as apathetic as those around him because of the futility of his efforts. Seven reinforces this in several scenes, such as when his concerns that a child witnessed a murder are dismissed, the police captain’s indifference to a mugger needlessly stabbing out his victim’s eyes, and the sex club manager who dislikes his role but sees no alternative.[31][115] Even so, Somerset tries to spare Tracy from the influence of the city by advising her to leave with her unborn child.[111][24]
Somerset and Doe both perceive the ubiquity of sin and indifference toward it. There are parallels in how both men live alone, are devoted to their work, and do not have any meaningful relationships. Although there is mention of Somerset’s former partner and some degree of respect with his colleagues, he tells Tracy that «anyone who spends a significant amount of time with me finds me disagreeable.» Doe’s apartment is a reflection of his own isolation from society.[111][115] They differ, however, in their response to sin: Somerset has surrendered to apathy and sorrow, while Doe feels contempt for society and has assumed a role as their punisher.[116][111] It is implied that Somerset was once passionate about his work until he realized he could not change things, while Doe is dedicated and passionate, believing wholeheartedly in the change his work will bring.[111] Somerset has never killed anyone, and retains a spark of hope that humanity can be better, while Doe kills freely, believing humanity is beyond saving. When Mills tells Doe he is killing innocent people, Doe replies, «only in a world this shitty could you even try to say these were innocent people and keep a straight face. But that’s the point. We see a deadly sin on every street corner, in every home, and we tolerate it. We tolerate it because it’s common, it’s trivial. We tolerate it morning, noon, and night. Well, not anymore.»[111][24][116]
Mills and Somerset are contrasting characters in terms of temperament, morality, intelligence, and personal connections.[117] Somerset is analytical, wise, experienced, and meticulous, while Mills is young, messy, and inexperienced, but full of potential.[115][118] Mills is optimistic and relatively light-hearted, choosing to move to the city because he believed he could have a positive influence until everything is taken from him.[111] Goldberg wrote that Mills and Tracy are naive to the city’s corruption, demonstrated by how they are tricked into renting an apartment that experiences constant shaking from nearby trains.[31][111][119] Dyer said Tracy, in particular, represents potential virtue, but as she is used infrequently to conceal her eventual fate, her impact is reduced.[120]
Doe’s plan does work, shocking Somerset out of his apathy and inspiring him to defer his retirement and fight for a better future.[111] Walker said of the ending, «it’s about «optimist Mills» … going up against this pessimistic kind of world-weary detective in Somerset … those dramatically opposed points of view are pushing and pulling each other throughout the story. And then once pessimism is confirmed, even to the optimist who’s been arguing that the fight is always worth fighting, will the pessimist in the light of confirmation of all his worst predictions, will he stay or will he walk away?»[13] Rosenbaum described it as a «touching, old-fashioned faith in the power of good to reassert itself,» tempered by the fact the hope is inspired by a self-martyred serial killer. He criticized that Seven chose style over substance, giving the overall message that we «remain exactly where we are.»[34] Dyer compared Doe to Hannibal Lecter in The Silence of the Lambs, in terms of ability to outthink and manipulate the authorities combined with his artistic method of arranging his murders, but that they are contrasted by their different social statuses, Lecter being an educated professional and a preference for luxury, while Doe is seemingly self taught, unemployed, and obsessed only with his mission.[121] However, Rosenbaum said that unlike The Silence of the Lambs, Seven did not «exploit its psycho killer for cheap laughs or blind hero worship.»[117] Nayman found Seven problematic, believing it did venerate Doe as having a valid criticism of society.[34]
Religion and order[edit]
Doe’s murders are described by Somerset as his sermons to the masses.[122] Dyer and Saunders describe Doe as conducting a violent crusade demonstrating the consequences of moral decay and sinning, based on his own interpretation of Christian ideology, in a city compared to the biblical Sodom and Gomorrah.[123][124] Writer Patricia Moir said that theorists in the late 1990s believed a growing trend in North America resulted in the decay of social meta narratives of order created by religion, science and art, in turn diminishing societal norms, and that in absence of these paradigms, all that remained was the chaos of existence.[119] Somerset tries to create order using the ticking of a metronome to disguise the disordered noise of sirens and screams outside his apartment.[119][125] Dyer wrote that Somerset smashing the metronome is him acknowledging he can no longer ignore the darkness of the city.[126] Doe creates order by filtering literature about the seven deadly sins and works by authors such as John Milton through a lense of religious fanatacism.[119] He believes his purpose is given by God, which is reflected in the opening credits depicting Doe cutting the word «God» from a dollar bill; Kyle Cooper said, «I hesitated on that one but decided to do it because John Doe took it on himself to play God.»[60]
Doe rationalizes that everyone is guilty of sin or wishing ill on other sinners.[119][124] According to Dyer, Doe is conscious he is also a sinner and so his plan involves his own death.[123][127] Goldberg wrote that Doe is the true sin of wrath, evidenced by his violent acts, but to complete his plan he must make Mills «become» wrath, and gives himself the sin of «envy». His resigned acceptance of the sin is, according to Goldberg, because there is no other sin for him to take and he is conscious that sins will not end with his death. Doe transferring wrath to Mills also demonstrates the infectiousness and pervasiveness of sin.[31] When Mills kills Doe it can be considered an act of good and justice, eliminating a remorseless force of evil, but he commits the act purely for revenge.[31] Film professor Richard Dyer suggests that Doe did not know how to conclude his plan until meeting with Mills while disguised as a photographer, during which Mills displays his wrath.[14] Writer Shaina Weatherhead believed Seven foreshadows the importance of the wrath and envy sins throughout, identifying the color red as representing wrath and green representing envy, colors which appear often: Somerset has a red lamp, Mills drinks from a green mug, and there are background green buildings with red address numbering.[118]
Seven features subtle references to the number seven, reinforcing the religious subtext, such as the Doe’s plan culminating on Sunday, the seventh day of the week and the biblical day of rest, on which Doe’s package for Mills is delivered at 7:01pm.[128] In researching Doe, Somerset references material including «The Parson’s Tale» by Geoffrey Chaucer, which discusses penance, Dante Alighieri’s Divine Comedy and its seven terraces of purgatory, a Catholic dictionary, and a reference to seven children being slain.[129] There are also references to art in Seven such as a stack of spaghetti cans resembling Campbell’s Soup Cans by Andy Warhol. Journalist Kim Newman considered each of Doe’s kills to be arranged as an artistic piece dedicated to each sin.[127] Commentary appears on the excesses of performance art and culture of celebrity, with Mills referring to Doe as a «movie of the week» and a «fucking T-Shirt», implying his legacy will be brief before fading into obscurity. Moir said that Seven provides no final answers about Doe’s legacy, but implies that things have potentially only gotten worse.[119]
Post release[edit]
Home media[edit]
Seven was released on VHS, DVD, and Laserdisc in 1996.[130][131][132][133][134] A 2-disc special edition DVD released in 2000, introduced additional features including a remastered picture scanned from the original film negative, extended or deleted scenes, the original opening with Somerset and cut-to-black ending, production photos and designs, and storyboards for an alternate ending. The release also included four commentary tracks: Pitt, Fincher, and Freeman discussing Seven; a discussion between Fincher, De Luca, Francis-Bruce, Walker, and film studies professor Richard Dyer; Khondji, Max, Dyer, Francis-Bruce, and Fincher; and an isolated music and effects score with commentary by Shore, Klyce, Dyer, and Fincher.[134] The film was released on Blu-ray Disc in 2010, featuring remastered visuals and containing all of the additional content present in the special edition, with an additional collectible DigiBook version containing production notes and photo stills.[135][136]
The Seven soundtrack was released with the film in November 1995. The 11-track compact disc and cassette tape release contained several of the songs used in the film, such as «Guilty» and «In the Beginning», as well as two pieces of the score («Portrait of John Doe» and «Suite from Seven»), but omitted «Closer» and «The Hearts Filthy Lesson».[62][58][63] A bootleg recording of the score was released in the late 1990s, before an official debut of the full 16-piece score in 2016.[137][58]
Other media[edit]
A novelization of Seven, written by Anthony Bruno, was released alongside the film in November 1995.[138] A seven-issue comic book series, Seven, was released between September 2006 and October 2007 by Zenescope Entertainment. Serving as a prequel to the events of the film, the comic book focuses on Doe and the planning of his crimes.[139]
Legacy[edit]
Critical reassessment[edit]
Seven is now regarded as one of the best thriller,[o] crime,[p] and mystery films ever made.[q] Some publications have listed Seven among the greatest films of all time.[r] A 2014 poll of 2,120 entertainment industry professionals by The Hollywood Reporter ranked Seven as the eighty-fifth-best film of all time.[159] Review aggregator Rotten Tomatoes offers a 82% approval rating from the aggregated reviews of 85 critics, with an average score of 7.9/10. The website’s critical consensus says: «A brutal, relentlessly grimy shocker with taut performances, slick gore effects, and a haunting finale.»[160] The film has a score of 65 out of 100 on Metacritic based on 22 critics’ reviews, indicating «generally favorable reviews».[161]
Retrospectives have identified Seven as retaining its appeal over its peers due to its bleak, often imitated but rarely equalled ending, as well as Fincher’s story-focused directorial style.[30][20] Critic Matt Goldberg described Seven as timeless because of its stylized reality that is not linked to any particular time or place, and lack of popular culture references, advertisements, or focus on technology.[31] Discussing Seven‘s lasting positive legacy as a thriller, Walker said: «I know a lot of people hate Seven and think it’s just garbage, so it’s good to be humbled in that way. I’m really proud of it … Looking back at the time that’s passed, I feel extremely lucky that they never managed to make a sequel to it … I’ve been lucky that they’ve not managed to make a prequel to it, which, in my opinion, sucks all of the kind of meaning and energy out of who and what John Doe represents. I love that it’s still a standalone piece.[13] Seven is included in the 2013 film reference book 1001 Movies You Must See Before You Die,[162] and has been listed among Pitt’s and Fincher’s best films.[163][164]
Cultural influence[edit]
Seven helped Pitt’s transition into more serious and dramatic acting roles. He and Paltrow became romantically involved before the film’s release, and Pitt would work again with Fincher on films such as Fight Club (1999).[30][2][18][13] It also established Freeman as a mentor-type figure, an archetype he would reprise in many projects thereafter.[30] After the failure of Alien 3, Seven revitalized Fincher’s feature film career, establishing him among the most iconoclastic Hollywood directors of his generation; he would direct The Game (1997), Fight Club, and Panic Room (2002) over the next few years. Walker and Shore collaborated with Fincher on several other projects.[18][32][28][165][166] Describing the personal impact on himself, Walker said «ten years down the line, if nothing else got produced. I’d still have this great movie on video … when I’m run out of town, living my old age, running a miniature golf shop, I can always have what I’ve dreamt of having since I was very young.»[4] In a 2022 interview, MacKay (Sloth) said that he was still earning «healthy residual payments» for his role, and would occasionally be recognized in public by fans.[7] He said: «people still think they used a dummy in that scene … I get that a lot. But that was me.»[7]
Seven inspired many filmmakers, and is considered influential on crime-based films and television shows that replicated its grim aesthetic, body horror imagery, lighting, and premise of disenchanted detectives pursuing criminals with distinct killing methods and motivations, featured in Kiss the Girls (1997), The Bone Collector (1999), Along Came a Spider, The Pledge (both 2001), the Saw series (2003), and television series Prodigal Son (2019–2021).[167][30][140] Collider said Seven caused a resurgence in faith-based horror, supernatural, and apocalyptic mystery films.[140] The superhero film, The Batman (2022), shares similar style and tone with Seven, and publications such as Rolling Stone called it «part superhero blockbuster, part 1970s-antihero homage, and part Seven remake.»[168] Seven‘s use of alternative music by Nine Inch Nails is also seen as contributing to more mainstream use of similar songs in films such as Final Destination (2000), Lara Croft: Tomb Raider (2001), and Resident Evil (2002).[30]
The title credit sequence for Seven was called «one of the most important design innovations of the 1990s» by the New York Times.[61][68] Art of the Title described it as the beginning of a «renaissance in title design, particularly in the horror genre, and its influence was evident over two decades after Seven‘s release.[61] In 2011, IFC ranked the sequence as the third best ever made, behind those of Vertigo (1958) and A Hard Day’s Night (1964),[61] and its style can be seen in the opening credits of films such as The Bone Collector, Red Dragon, and Taking Lives (2004).[30]
The film’s twist ending is considered one of the best in cinematic history.[s] Pitt’s dialogue, «What’s in the box?», as he asks Somerset to confirm the contents of Doe’s box, has become iconic, used in popular culture and memes.[144][176][177][178][24] Walker said «[The twist is] one of the reasons I think Seven did well … because people went in and they did not know in the first ten minutes exactly how the movie was going to end.»[24] Although it is only implied that Tracy’s head is in the box, Fincher recalled an encounter with a woman who said, «‘There is no need to make a stand in of Gwyneth Paltrow’s head to find in the box. You don’t need to see that.’ And I said, ‘Well, we didn’t.’ And she said, ‘Oh yes, you did.’ So, the imagination, if properly primed, can do more than any army of makeup artists.»[26][31] John Doe has been named by several publications as one of the great cinematic villains.[179][180][181][182]
Sequel[edit]
A sequel, Ei8ht, was proposed by New Line Cinema in 2002, based on a repurposed spec script titled Solace by Ted Griffin about a psychic serial killer pursued by a similarly psychic detective, Somerset. The idea was eventually abandoned after principal Seven cast and crew, including Freeman and Pitt, expressed no intention to return for a sequel and Fincher said «I would be less interested in that than I would in having cigarettes put out in my eyes.»[t] The script was made into the standalone thriller, Solace (2015), which was a critical and commercial failure.[187]
References[edit]
Notes[edit]
- ^ Attributed to multiple references:[13][17][18][19][20][21]
- ^ Attributed to multiple references:[26][33][34][20][22]
- ^ Attributed to multiple references:[22][19][26][20][17][13][33]
- ^ Attributed to multiple references:[20][22][21][33][24]
- ^ The 1995 budget of $33–$34 million is equivalent to $58.7 million–$60.5 million in 2021.
- ^ The 1995 theatrical box office gross of $327.3 million is equivalent to $582 million in 2021.
- ^ Attributed to multiple references:[90][91][92][93][94]
- ^ Attributed to multiple references:[95][96][97][98][99][93]
- ^ Attributed to multiple references:[92][95][93][91][101][94][98][99][100][96]
- ^ Attributed to multiple references:[92][94][102][97][99]
- ^ Attributed to multiple references:[93][91][101][97][99]
- ^ Attributed to multiple references:[93][91][101][94][97][100]
- ^ Attributed to multiple references:[93][103][101][100][96]
- ^ Attributed to multiple references:[93][101][105][104][90]
- ^ Attributed to multiple references:[140][1][141][142][143][144][145]
- ^ Attributed to multiple references:[146][147][148]
- ^ Attributed to multiple references:[149][150][151][152][153][154]
- ^ Attributed to multiple references:[155][156][157][158]
- ^ Attributed to multiple references:[54][169][170][171][172][173][174][175]
- ^ Attributed to multiple references:[10][183][184][185][186][187]
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Works cited[edit]
- Dyer, Richard (1999). Seven. London: British Film Institute. ISBN 0-85170-723-8.
- Horn, John (October 25, 1995). «Fall Box Office’s Lucky Number Is Surprise Seven«. The Tampa Tribune. Tampa, Florida: Tampa Media Group, Inc. Associated Press.
- Montesano, Anthony (February 1996). «Seven‘s Deadly Screenwriter: Andrew Kevin Walker On His Horrific Masterpiece». Cinefantastique. Vol. 27, no. 6. Forest Park, Illinois: Fourth Castle Micromedia. pp. 48–50. Retrieved September 25, 2022.
- Woods, Mark (November 20, 1995). «Seven Rolls To O’Seas B.O. Heights». Variety. Vol. 361, no. 3. New York City: Penske Media Corporation.
- Moir, Patricia (February 1996). «The Horror! The Horror!». Cinefantastique. Vol. 27, no. 6. Forest Park, Illinois: Fourth Castle Micromedia. p. 49. Retrieved September 25, 2022.
- Saunders, Matthew F. (February 1996). «Seven«. Cinefantastique. Vol. 27, no. 6. Forest Park, Illinois: Fourth Castle Micromedia. p. 55. Retrieved September 25, 2022.
- Schneider, Steven Jay (2013). «1990s». 1001 Movies You Must See Before You Die. Boston, Massachusetts: Murdoch Books Pty Limited. ISBN 978-0-7641-6613-6.
- «Seven Is Re-Released For The Holidays». San Francisco Examiner. San Francisco, California: Clint Reilly Communications. December 23, 1995.
- Taubin, Amy (January 1, 1996). «The Allure Of Decay». Sight and Sound. Vol. 6, no. 1. London: British Film Institute. pp. 22–24.
External links[edit]
- Seven at AllMovie
- Seven at Box Office Mojo
- Seven at IMDb
- Seven at Metacritic
- Seven at Rotten Tomatoes
- Seven at the TCM Movie Database
| Seven | |
|---|---|
|
Theatrical release poster |
|
| Directed by | David Fincher |
| Written by | Andrew Kevin Walker |
| Produced by |
|
| Starring |
|
| Cinematography | Darius Khondji |
| Edited by | Richard Francis-Bruce |
| Music by | Howard Shore |
|
Production |
Arnold Kopelson Productions |
| Distributed by | New Line Cinema |
|
Release date |
|
|
Running time |
127 minutes |
| Country | United States |
| Language | English |
| Budget | $33–$34 million |
| Box office | $327.3 million |
Seven (stylized as Se7en)[1] is a 1995 American crime thriller film directed by David Fincher and written by Andrew Kevin Walker. It stars Brad Pitt, Morgan Freeman, Gwyneth Paltrow, and John C. McGinley. Set in a crime-ridden, unnamed city, Seven‘s plot follows disenchanted, near-retirement detective William Somerset (Freeman) and his new partner, the recently transferred David Mills (Pitt), as they attempt to stop a serial killer before he can complete a series of murders based on the seven deadly sins.
Walker, an aspiring writer, wrote Seven based on his experiences of moving from a suburban setting to New York City in the late 1980s, during a period of rising crime and drug addiction. His script was optioned by an Italian film company which underwent financial difficulties and sold the rights on to New Line Cinema. Executives were opposed to the script’s bleak ending and mandated a more mainstream, upbeat outcome. Eager to prove himself after the failure of his first feature film project, Alien 3, Fincher read Walker’s original script which he was sent by mistake and agreed to direct as long as the ending remained. The studio continued its efforts to change the ending, but faced opposition from Fincher and the cast. On a $33–$34 million budget, principal photography took place mainly on location in Los Angeles. Rob Bottin helmed the special effects team responsible for realizing the elaborate murders, using makeup and prosthetics.
Seven received middling test audience results and was not expected to perform well due to its violent and mature content, but it went on to earn $327.3 million worldwide, becoming a surprise success and one of the highest-performing films of the year. Reviews were more mixed, with critics praising Freeman’s performance, but criticizing the dark cinematography, implicit and implied violence, and the bleak ending. Seven revitalized Fincher’s career and helped Pitt transition from roles based on his appearance to more serious, dramatic roles.
Seven is now regarded as one of the best thriller, crime, and mystery films ever made. It remains influential in filmmaking, inspiring a host of imitators of its aesthetic, style, and premise of detectives chasing down serial killers with distinctive methods and motives. The film’s title sequence, depicting the killer preparing for his actions later in the film, is considered an important design innovation and also influential on future credit sequences, while Seven‘s twist ending has been named as one of the best in cinematic history.
Plot[edit]
In a city overcome with violent crime and corruption, disillusioned police detective, William Somerset, is one week from retirement. He is partnered with David Mills, a short-tempered but idealistic detective who recently relocated to the city with his wife, Tracy. On Monday, Somerset and Mills investigate an obese man forced to eat until his stomach burst, killing him, and uncover the word «gluttony» written on the wall. Somerset fails to get himself and Mills reassigned to another case, believing it is too extreme for his last investigation. The following day, the second victim, greed, is found, having been forced to cut a pound of flesh from his body. Clues at the scene lead Somerset and Mills to the sloth victim, a drug-dealing pederast, who they find emaciated and restrained to a bed. Photographs reveal the victim was restrained for exactly one year. Somerset surmises that the murders are based on the seven deadly sins.
Tracy invites Somerset to share supper with her and Mills, helping the detectives overcome their mutual hostility toward each other. On Friday, Tracy meets privately with Somerset as she has no other acquaintances in the city. She reveals her unhappiness at moving there, especially after learning she is pregnant, and believes the city is an unfit place to raise a child. Somerset sympathises with Tracy, having convinced his former girlfriend to abort their child for similar reasons and regretting it ever since; he advises her to inform Mills only if she intends to keep the child.
A comment by Mills inspires Somerset to research libraries for anyone checking-out books based on the seven deadly sins, leading the pair to the apartment of John Doe. The suspect returns home unexpectedly and is pursued by Mills, who is incapacitated after being struck with a tire iron by Doe. Mills is held at gunpoint momentarily, but Doe chooses to flee. The police investigate Doe’s apartment, finding a large amount of cash, hundreds of notebooks revealing Doe’s psychopathy, and photos of some of his victims, including images taken of Somerset and Mills by what they believed was an intrusive journalist at the Sloth crime scene. Doe calls the apartment and speaks of his admiration for Mills.
On Saturday, Somerset and Mills investigate the fourth victim, lust, a prostitute raped with a custom-made, bladed strap-on by a man held at gunpoint. The pride victim is found the following day, a model who took her own life rather than live without her beauty, after being facially disfigured by Doe. As Somerset and Mills return to the police station, Doe arrives and turns himself in. He threatens to plead insanity at his trial, potentially escaping punishment, unless Mills and Somerset escort him to an undisclosed location where they will find the envy and wrath victims. During the drive there, Doe explains that he believes himself to be chosen by God to send a message about the ubiquity of and apathy toward sin. Doe has no remorse for his victims, believing the shocking murders will force society to pay attention to him.
Doe leads the detectives to a remote location, where a delivery van approaches. Somerset intercepts the vehicle and opens a package the driver was instructed to deliver to Mills at this specific time. Horrified at what he finds inside, Somerset tells Mills to put his gun down. Doe reveals that he himself represents envy because he envied Mills’ life with Tracy, and implies the package contains her severed head. He urges Mills to become wrath, telling him that Tracy begged for her life and that of her unborn child, and takes pleasure in realizing that Mills was unaware of the pregnancy. Despite Somerset’s pleas, the distraught and enraged Mills shoots Doe to death, completing his plan. As the catatonic Mills is taken away by the police, Somerset tells his captain that he will «be around.» A narration by Somerset says: «Ernest Hemingway once wrote ‘The world is a fine place and worth fighting for.’ I agree with the second part.»
Cast[edit]
- Brad Pitt as David Mills: A well-meaning but impulsive homicide detective[2]
- Morgan Freeman as William Somerset: A veteran police officer disillusioned with his job[2][3][4]
- Gwyneth Paltrow as Tracy Mills: Detective Mills’ pregnant wife[2][5]
- R. Lee Ermey as Police Captain: The detectives’ grizzled superior[6]
- John C. McGinley as California: A SWAT team leader[7]
- Kevin Spacey as John Doe: A serial killer inspired by the seven deadly sins[7][5]
- Richard Roundtree as Martin Talbot: The district attorney[8]
Seven also features Julie Araskog as Mrs. Gould, John Cassini as Officer Davis, Reg E. Cathey, Peter Crombie, and Richard Portnow as, respectively, Doctors Santiago, O’Neill, and Beardsley, Richard Schiff as Mark Swarr, and Mark Boone Junior as «greasy FBI Man.» Hawthorne James appears as George, the library night guard, Michael Massee portrays «man in massage parlour booth», Leland Orser plays «crazed man in massage parlour», Pamala Tyson portrays a thin vagrant outside Doe’s apartment,[9] and Doe’s delivery man is played by Richmond Arquette.[10]
Doe’s victims include: Bob Mack appears as Gluttony, a morbidly obese man force fed until his stomach bursts; Gene Borkan portrays Greed, a criminal-attorney forced to cut off his own flesh; and Michael Reid MacKay appears as the Sloth victim, Theodore «Victor» Allen, a drug dealer and child abuser.[11][12][7] Cat Mueller portrays the Lust victim, a sex worker impaled with a bladed sex toy, and Heidi Schanz appears as model Rachel Slade, Pride, who is disfigured by Doe.[11][12] Writer Andrew Kevin Walker makes a cameo appearance as a corpse investigated by Somerset during the film’s opening scene,[13] Freeman’s son, Alfonso, appears as a fingerprint technician, and columnist George Christy portrays the police department janitor scraping Somerset’s name from his door.[13][10][14][15][16]
Production[edit]
Writing[edit]
Andrew Kevin Walker, moved from the suburbs of Pennsylvania to New York City in 1986, and described the «culture shock» of living in a city undergoing a period of significant rises in crime and drug abuse.[13] While working as a sales assistant for Tower Records in 1991, the aspiring screenwriter began writing a spec script, Seven, set in a bleak and gloomy (unnamed) city inspired by his «depressing» time in New York.[a] Walker said, «it’s true that if I hadn’t lived there I probably wouldn’t have written Seven … I think it’s that way for anything—the right time and the right mood, and the right inspiration, whatever inspiration is. That’s what’s so scary about writing.»[22][19][21] Film studios were eager for high concept spec scripts, and Walker believed his thriller about police officers pursuing a serial killer driven by the seven deadly sins would attract attention and help begin a professional writing career.[20][19][22][13]
Walker intended to leave the narrative open to interpretation so as to not invalidate the opinions of his prospective audience. He wanted to defy the audiences’ expectations and leave them feeling «violated and exhausted» by the conclusion, because «there’s lots of evil out there, and you’re not always going to get the satisfaction of having any sort of understanding of why that is. That’s one of the things that scares people the most about serial killers.»[23] For the killer, Walker recounted his own experiences of walking down the city streets and observing crimes and sins being openly committed on every corner, and what would happen if someone was specifically focused on these sins.[13] He had Doe surrender himself to the police because it would rob the audience and characters of the anticipated satisfaction and make them uncomfortable leading into the finale.[24]
The script was optioned in the early 1990s by Italian company, Penta Film, under manager Phyllis Carlyle. Walker was paid the minimum fee allowed by the Writers Guild of America, which he described as not being «fuck you money,» but enough to quit his job, relocate to Los Angeles, and work on Seven.[18][19][13]
Development[edit]
To helm the project, Penta Film hired director Jeremiah S. Chechik, who had recently directed the successful comedy film, National Lampoon’s Christmas Vacation (1989), and was looking for a more serious project. However, Chechik and Penta Film mandated several script changes, including removing the bleak «head-in-the-box» ending, in which the decapitated head of Tracy is delivered in a box.[4][18][20][17][13] Given the option to refuse the requests and risk being replaced or the project cancelled, Walker acquiesced, writing a more mainstream ending in which the detectives confront Doe in a church, described as either burnt-out or actively on fire.[17][20][18] In this version, Doe embodies the sin of Envy and kills Mills before being shot dead by Somerset, while a pregnant Tracy leaves the city.[25][20][18] In a 2017 interview, Walker said he felt that he was ruining his script and should have left the project.[18] In total, he wrote thirteen different drafts to meet the studio demands.[26] The project failed to progress and as the option was expiring and Penta Film was experiencing financial difficulties (eventually dissolving in 1994), the studio sold the rights to producer Arnold Kopelson, who brought it to film studio, New Line Cinema.[18][19][20][27] Chechik also left the project, with Guillermo del Toro and Phil Joanou approached to replace him; Joanou turned it down because he found the story too bleak.[17][28][29]
David Fincher was mainly known for directing popular music videos, such as «Janie’s Got a Gun», «Vogue», and «Who Is It». His only feature film, Alien 3 (1992), had been a negative experience which tasked him with filming without a complete script, and its studio, 20th Century Fox, significantly modified the film in editing, against Fincher’s wishes. Fincher disowned the film, saying «I’d rather die of colon cancer than make another movie.»[30][31][32][4] Even so, his agent brought him the Seven script. Fincher was uninterested in the police procedural aspects but found himself drawn in by the gradual reveal of Doe’s plans, saying «I found myself getting more and more trapped in this kind of evil … and even though I felt uncomfortable about being there, I had to keep going.» He determined the script matched his own creative sensibilities, particularly its «meditation on evil and how evil gets on you and you can’t get it off,» and uncompromising ending in which «[Tracy’s] been dead for hours and there’s no bullshit chase across town and the guy driving on sidewalks to get to the woman, who’s drawing a bath while the serial killer sneaks in the back window.»[b] Fincher expressed his interest to the studio, and it was realized that he had been sent Walker’s original script. New Line Cinema sent Fincher a current draft in which Tracy survived, but he would only agree to direct the original script. He met with New Line Cinema’s president of production, Michael De Luca, who also preferred the original script and the pair agreed to start filming that version in six weeks, believing delaying any longer risked executives noticing their plan and interfering.[c]
Despite their efforts, Kopelson and studio executives made efforts to lighten Seven‘s tone and change the ending.[d] Fincher was resistant to any changes, unwilling to compromise his creative control or vision.[32][28] De Luca remained supportive of Fincher, and the original ending gained further backing as the project secured prominent actors, including Freeman, Pitt, and Spacey.[13][20][22][21] In particular, Pitt said he joined Seven on condition that the head-in-the-box ending be retained, and that Mills «[shoots] the killer in the end. He doesn’t do the ‘right’ thing, he does the thing of passion.» He was upset that the original ending to his previous film, Legends of the Fall (1994), had been cut in response to negative test audience results.[35][25] Kopelson was convinced to support Fincher after being reassured that the decapitated head would not be shown, saying «it needed this horrendous event to kick off the last sin, wrath,» that would be discussed for decades.[24][33] Walker said, «there’s nothing wrong with [positive] endings, it’s just that the dark ending of Seven was what it was about. To change the ending to something else was to remove the very heart of the story.[24][13]
Walker performed some script refinements, including extending a chase sequence depicting Mills cautiously pursuing Doe, aiming to avoid typical cinematic chases in which characters frantically pursued their target. He said, «I always thought, ‘God, if someone was shooting at me, I would be terrified to turn any corner!'»[20][36] A shooting script was completed by August 1994.[20][4]
Casting[edit]
Kevin Spacey (pictured in 2013) was a late addition to Seven as the studio did not want to pay his fee. Ned Beatty was offered the role of John Doe because of his resemblance to the 1969 composite sketch of the Zodiac Killer (right).
Pitt had established himself as a credible film star following successes with Interview with the Vampire (1994) and Legends of the Fall, but Fincher had not considered him to portray Mills because «I’d never seen Mills as particularly accomplished, and I was concerned that [Pitt] seemed too together. But when I met him, I thought, this guy is so likable he can get away with murder—he can do anything and people will forgive him for it.»[19][2][33] Conscious of Pitt’s popularity and importance to Seven‘s potential success, Kopelson shortened the pre-production schedule to five weeks from twelve to fit his schedule.[2] Pitt turned down several offers from other films because he wanted to escape his typecasting as a romantic lead character in favor of something with a more «documentary feel» with urban settings and a focus on dialogue, akin to thriller films such as The Conversation (1974).[2][19] He said, «I just wanted to escape the cheese … I came to find out [Fincher] had a lactose intolerance as well, so I was very happy about it.»[2] Pitt described Mills as a well-intentioned «idiot» who «speaks before he really knows what he’s talking about.» He cut his hair for the role and lost weight to reduce the muscle he developed for Legends of the Fall.[2] Sylvester Stallone and Denzel Washington turned the role down.[37][38][39][29]
Walker named the Somerset character after writer W. Somerset Maugham.[4] Walker envisioned William Hurt playing the character, but Fincher cast Freeman; the studio was concerned that pairing a black and white detective would make Seven seem derivative of the action film Lethal Weapon (1987).[40] Robert Duvall, Gene Hackman, and Al Pacino turned the role down.[4][22][41][42][43] The script was modified further after Pitt’s and Freeman’s castings to better match their acting styles; Mills was made more verbose, and Somerset’s dialogue was trimmed down, being made more precise and direct.[44] Robin Wright auditioned for, and Christina Applegate turned down the role of Tracy before Paltrow was cast. She was recommended by Pitt who had been impressed by her Legends of the Fall audition.[29][2][10] Fincher also preferred Paltrow, but was told by those involved that she would not be interested in a «dark» film like Seven. He auditioned about 100 people before Pitt contacted her directly to meet with them.[33] Fincher said Tracy is «so important because it’s the only sunshine we have in the film. This is the feel-bad movie of [1995] … we needed someone who could take those little seconds she gets and fill them with soul, and that’s what I’d always seen in her performances.»[2]
Fincher and Walker wanted Ned Beatty to play John Doe, because of his resemblance to the 1969 composite sketch of the Zodiac Killer; Beatty declined, describing the script as the «most evil thing I’ve ever read.»[45] Michael Stipe, lead vocalist of the rock band R.E.M., was considered but the filming dates conflicted with the band’s tour, Val Kilmer declined the role, and R. Lee Ermey auditioned, but Fincher said his portrayal was «completely unsympathetic» without any depth.[46][47][29] Kevin Spacey was preferred by Pitt, but executives refused to pay his salary.[45][22][13] Doe’s scenes were initially filmed with an unknown actor portraying Doe, but the filmmakers quickly decided to replace them and Pitt helped negotiate Spacey’s involvement. Spacey recalled, «I got a call on a Friday night, and on Monday morning I was on a plane to Los Angeles, shooting on Tuesday»; he filmed his scenes in twelve days.[45][22][13][48] Spacey wanted his name omitted from the film’s marketing and opening credits to ensure the killer’s identity remained a secret.[45][22][13][46][48] He said, «I’d just done Swimming With Sharks (1994), The Usual Suspects, and Outbreak (both 1995) … I knew that if any of those movies did well, my profile would be … different. How would that affect my billing in Se7en? If I’m the third-billed actor in a movie where the top two billings are trying to find somebody and they don’t find that somebody until the last reel, then it’s obvious who that somebody is. It was a bit of a shit-fight for a couple of days, but I felt very strongly that it was the right thing to do for the movie. We finally won because it was a deal-breaker; I was either going to be on a plane to shoot the movie or I wasn’t.»[48]
The 480 lb (220 kg) Bob Mack made his theatrical debut as Gluttony, described as a «very heavy guy face down in spaghetti.» Gene Borkan was cast to play the Greed victim because the filmmakers wanted someone who resembled lawyer Robert Shapiro. He did not realize his character would already be dead and refused a request to perform nude, telling Fincher «I’ll be naked if you’re naked. Otherwise, you don’t get that.» On the set, when he realized what his scene entailed, Borkan renegotiated his salary, receiving «five times [the $522 Screen Actors Guild day-scale fee].»[11] Michael Reid Mackay’s (Sloth) audition involved him portraying a corpse who slowly turned his head towards the camera; it was deemed «creepy» enough.[11][7] Set decorator, Cat Mueller, portrayed the Lust victim after Fincher’s assistant said she had the personality and body to portray a «dead hooker.» She received $500 for six hours of filming over two days, but described being nude in front of Pitt as a perk. Model, Heidi Schanz, was cast as the Pride victim after the previous actress dropped out. Running low on time, Fincher wanted a model with existing headshots and pictures that could be displayed in the character’s apartment. She said, «even though I’m dead, I think it’s the most glamorized murder.»[11] The film’s content made casting and crewing Seven difficult; Gary Oldman turned down an unspecified role, Fincher’s former costume designer declined to work on the film, and talent agents refused to pass offers on to their clients, describing Seven as «evil and misogynistic.»[28][33]
Filming[edit]
Seven was filmed mainly in downtown Los Angeles (pictured in 2016)
Principal photography began on December 12, 1994, and concluded on March 10, 1995.[49] Assistant director, Michael Alan Kahn, recalled the commencement of filming: «I went up to Fincher and I said, ‘Look at this! Look! It’s here! We’re here! You did it! We’re shooting a movie … isn’t this amazing? …’ And he looked at me as though I were from outer space and said, ‘No, it’s awful … now I have to get what’s in my head out of all you cretins.'»[28] Walker was on set throughout filming to provide suggestions or on-spec rewrites, but did not give Fincher much input, believing he should adapt the script as he wanted.[4]
Location shooting took place entirely in downtown Los Angeles.[22][50] Fincher wanted to shoot in Oakland, California, because it had «beautiful clapboard houses,» but the schedule would not allow for this.[50] The film’s near constant rain was a pragmatic decision, as Pitt was only available for a total of fifty-five days before he began filming 12 Monkeys (1995), and it often rained during filming so to avoid any continuity errors Fincher decided to have near-constant rain. He also believed it introduced an inescapable element for the characters, because conditions were bad inside and outside, and made it appear less like Los Angeles which was associated with sunny weather.[51][50][33]
Seven‘s aesthetic was influenced by films such as All That Jazz (1977), The Silence of the Lambs (1991), and The French Connection (1971), as well as the «vulnerable» over-the-shoulder viewpoint of documentary television show, Cops.[50][10] Cinematographer Darius Khondji also named the crime thriller, Klute (1971), as a significant influence because of its «use of toplight … widescreen compositions for intimacy rather than big vistas, the way that vertical strips of the city are shown in horizontal mode, the fragments of faces and bodies … the look of Se7en has this heightened sense of realism—a realism that’s been kicked up several notches and becomes its own style.»[52][26][50] Fincher singled out one scene in Klute, in which the only illumination is the character’s flashlight, saying he disliked other films where characters state that visibility is low but the audience can see the scene clearly.[26][50] Khondji used a mixture of lighting, such as the warm light of Chinese lanterns to represent the past and present, and the cold light of Kino Flos to represent the future.[52]
The studio was unhappy with how dark the dailies were; Khondji suggested printing the footage brighter, but Fincher refused to compromise. Available footage was made into a well-received promotional showreel for the theater owner convention, ShoWest, after which complaints about the darkness ceased.[52][26][50] Khondji used Panavision Primo lenses which offered a sharp image with good contrast, and Kodak film stocks which could capture the «gritty» interiors and deep blacks for night-time exteriors.[53]
The scene in which Mills pursues Doe was described by Khondji, as one of the most difficult scenes to film due to its length as well as fast camera movements in the rain or tight interior spaces that were barely lit. One segment had to be re-filmed because the location was too dark for the camera to capture Freeman’s face.[52] Pitt also insisted on performing his own stunts for the scene, and slipped on a rain-slicked car bonnet, crashing through the windshield and sustaining injuries including cut tendons and nerves in his left hand; Fincher said he saw exposed bone. He returned to the set a few days later, having received stitches and a forearm cast which had to be written into later scenes. For scenes set prior to the chase, Pitt would keep his hand in his pocket or otherwise obscured to hide the injury.[46][2][19][52] Pitt said he regretted not disrobing for a separate scene of Mills and Somerset shaving their chests to wear concealed listening devices. He disliked the public attention given to his body, but later came to believe that taking his shirt off would have conveyed the growing partnership between Mills and Somerset.[14]
The crew had to clear used condoms and crack pipes from the location of the Sloth victim sequence, replacing those with prop crack pipes and air fresheners.[52] The actors were not told the Sloth victim was a person in costume, and McGinley’s shock at the body moving was real.[7][22] Lights with green color gels were shone through the window from the adjacent building to give everything a green tint.[52] Leland Orser, who portrays the man forced to kill the Lust victim, deprived himself of sleep to achieve a «deranged mindset»; his scene was pushed back so he stayed awake another night. He would breathe rapidly between scenes to make himself hyperventilate on camera.[14] The ending was scripted to take place directly beneath transmission towers, a location picked by Doe to interfere with the police communications, but it actually interfered with the film crew radios, and the actors had to use cell phones to communicate with the crew from afar.[46]
Ending and post-production[edit]
The ending remained a point of contention between New Line Cinema and the filmmakers. Fincher wanted to follow Mills shooting Doe with a sudden cut to black, intending to leave the audience stunned, but executives believed this would alienate audiences.[25][54][35][24] Fincher instructed staff at a test screening to keep the lights off following the cut to black so the audience could take it in; his instructions were not followed. Afterward, one female audience member walking by Fincher said, «the people who made that movie should be killed.» Fincher said the screening invitation said, «Would you like to see a new movie starring Brad Pitt and Morgan Freeman,» both known for films very different in tone to Seven, «I don’t know what the fuck they thought they were gonna see … but I’m telling you, from the reaction of the people in there, they were bristling. They couldn’t have been more offended.»[46] Executives wanted a mainstream conclusion in which Mills and Somerset pursue Doe and a kidnapped Tracy, who would survive. Pitt recalled, «[the studio says] ‘You know, he would be much more heroic if he didn’t shoot John Doe—and it’s too unsettling with the head in the box. We think maybe if it was [Mills’] dog’s head in the box.'» Freeman preferred a storyboarded sequence of Somerset killing Doe, sparing Mills from losing his career as well, but Pitt believed Mills had to kill Doe and test audiences preferred that version. Another alternative depicted Mills shooting Somerset to stop him killing Doe before he could. Fincher and Pitt refused to compromise on the head-in-the-box ending but settled for a longer epilogue showing Mills being arrested and Somerset delivering a concluding narration offering some optimism.[25][54][35][24][46]
Pitt and Fincher were unhappy with the car ride scene leading into the ending because the dialogue had to be dubbed over as too much ambient sound had been picked up during filming. Pitt believed this caused the scene to «lost its breath,» affecting the pacing and emotion. The helicopter scenes were also filmed in post-production as there was no time during principal photography, but the studio agreed extra time and funding if the scenes were deemed necessary. Filmed several months later, the green ground had turned brown and so the ground-based scenes had to be color corrected to match the new footage.[46] The opening credits were scripted to be set over footage of Somerset visiting a countryside home he intended to purchase for his retirement, taking a piece of the wallpaper that he would carry through the film, before returning to the city by train. This was intended to create a stark contrast between the countryside and the darkness of the city, but there was insufficient budget to film it. Scenes of Somerset looking at the wallpaper piece had to be cut as a result.
Richard Francis-Bruce edited the 127 minute theatrical cut.[55][24] His style focused on «having a motivated cut,» believing every cut needed to be done with a specific purpose. For the finale, he introduced more rapid cuts to emphasize the tension as Doe’s plan is revealed, and a brief four frame insert of Tracy as Mills pulls the trigger, to compensate for not showing the contents of the box.[24] To emphasize the darkness, Fincher and Khondji used an expensive and lengthy bleach bypass chemical process which retained more of the silver present in the filmstock which would normally be lost. The silver created a luminous effect in lighter tones and deeper darker colors.[22][30][50] Of the 2,500 prints sent to theaters, only a few hundred used the process.[50]
Seven was budgeted at $30–$31 million, but Fincher convinced studio executives to provide further funding to achieve his vision for the film, eventually pushing it $3 million over budget, to a total of $33–$34 million, making it New Line Cinema’s most expensive film at that point.[20][4][33][56][34][57][e] A studio employee said studio executives «would go into these meetings with [Fincher], saying, ‘Absolutely not, not a penny more’ … but he was so relentless and persuasive that they’d come out all ga-ga-eyed, and give him more money.»[56] About $15 million of the budget was spent on below-the-line costs.[34][57]
Music and sound[edit]
Fincher hired Howard Shore to score Seven, based on his score for The Silence of the Lambs.[58] Shore said Fincher would attend recording sessions but rarely interfered with Shore’s process.[28] Performed by an orchestra of up to 100 musicians, the score combines elements of brass, percussion, piano, and trumpets. «Portrait of John Doe» serves as the central theme with two cue notes; a rising version is used for Tracy’s appearances.[58][59][24] Shore described the film’s ending as having a «visceral, kind of primal effect on me.» He incorporated his reaction into the sequence’s score, providing little accompaniment during the dialogue between Mills, Somerset, and Doe, but using it to punctuate significant moments such as Somerset opening the box. Shore said «the music starts, and it turns the scene, it turns it into John Doe’s perspective … the music enters, and you realize, the look of the horror on his face, it’s a chilling moment.»[24]
Shore’s opening theme, «The Last Seven Days», described as a more «upbeat» piece, was replaced by a remix of industrial rock band Nine Inch Nails’s «Closer» by Coil and Danny Hyde.[58][60][61] David Bowie’s «The Hearts Filthy Lesson» is used for the end credits.[62][58][63] Seven features songs including: «In the Beginning» by The Statler Brothers, «Guilty» by Gravity Kills, «Trouble Man» by Marvin Gaye, «Speaking of Happiness» by Gloria Lynne, «Suite No. 3 in D Major, BWV 1068 Air» by Stuttgarter Kammerorchester and Karl Münchinger, «Love Plus One» by Haircut One Hundred, «I Cover the Waterfront» by Billie Holiday, «Now’s the Time» by Charlie Parker, and «Straight, No Chaser» by Thelonious Monk.[59]
Fincher hired his friend Ren Klyce as sound designer. They inserted sounds on the outside of each frame, such as raining or screaming, to create a psychological impression that terrifying things are occurring even when the audience cannot see or escape it. Klyce and sound designer Steve Boedekker also produced the music heard at the entrance to the Lust murder sex club.[64][65]
Design[edit]
Style and set design[edit]
Fincher, Khondji, production designer Arthur Max, and costume designer Michael Kaplan, collaborated on establishing a unified vision for the art direction.[52] Fincher established the design rules for the film: «This is a world that’s fucked up and nothing works.» He wanted every design aspect to look neglected and in a state of decay.[28] Fincher was influenced by the photography of William Eggleston, focused on «coolness», making the visuals simultaneously gritty and stylized as well as classic and contemporary, and the black-and-white photographs of Robert Frank. Khondji said Frank’s style could be seen in Seven‘s very bright exteriors and dark interiors. Many interior scenes were underexposed to create a stark contrast, which in turn made the exteriors stand out more. Interior lighting was also often provided by external sources, using only a few interior artificial lights. The end scene with Mills, Somserset, and Doe, featured inconsistent lighting because the actors were always lit from behind by the sun regardless of where they were standing in the scene, which Khondji described as «a bit of a nightmare and never realistic in terms of continuity.»[52]
Fincher wanted precise staging for every scene to make the audience feel as if they were in the location. He had sets built without removable walls so that they had to film within the confined of the sets, believing it was important to create limitations to challenge himself.[50] Doe’s murder scenes were influenced by photography, such as the work of Joel-Peter Witkin.[52] The «gluttony» set was wrapped in plastic to contain the cockroaches and a cockroach wrangler was used to help control them.[14] The Sloth scene, in particular, took influence from the work of painter Edvard Munch, drawing on the green and «claustrophobic» imagery.[52] The «Lust» sex club ceilings were lowered to make the space more claustrophobic and was sprayed on the walls for texture and to imply that they were covered in bodily fluids. A former bank was used as the library and 5,000 books were rented to fill the space, supplemented with fiberglass replicas. The shaking in Mills apartment, caused by a passing train, was created using gas-powered engines attached to the set. Walker’s script described Doe’s home extensively, with windows painted black for privacy and a drawer filled with empty painkiller bottles to help Doe cope with regular headaches.[14]
Victims[edit]
Rob Bottin led development of practical effects. He researched crime scene photos and police evidence files, observed an autopsy, and studied the effects of obesity to realize his designs.[66] For the Gluttony victim, Mack spent up to 10 hours a day having makeup and prosthetics applied. A scuba-like device was used to let Mack breathe while facedown in spaghetti.[14][46] Mack recalled how he was unaware that he would be surrounded by live insects until reading the daily call sheet and noticing a «cockroach wrangler»; Pitt would flick some roaches off of Mack between takes.[11] The character’s autopsy used a fiberglass replica with a deliberately enlarged penis; Fincher said after Mack spent so long in makeup for 30 seconds of screentime, that he could «at least give him a huge cock.»[14][46]
Bottin’s team spent eleven days experimenting on the right aesthetic and prosthetics for the Sloth victim portrayed by MacKay.[7][66] MacKay was 5.5 ft (170 cm) tall and weighed only 96 lb (44 kg) to 98 lb (44 kg) during filming, offering a slight frame for the emaciated character. The filmmakers asked him to lose more weight but he declined.[11][7] The effects team made a body cast of MacKay to develop rubber prosthetics that could be applied all over his body. The appliances were painted to appear bruised and scarred, veins were airbrushed onto MacKay, and he was fitted with gelatin sores, overgrown fingernails, skeletal teeth, and matted hair. The process took up to 14 hours, requiring MacKay to begin at 5am for filming at 8pm. He was brought to the set in costume, and Freeman quipped, «you don’t look so good.»[7][66] He described filming the scene as «real heavy-duty,» and was left «breathing very hard and crying.»[11][7] He had to remain relatively still over four hours of filming, having to limit his breathing to prevent his stomach rising and falling, and the cold set was worsened by makeup artists repeatedly spraying his body with water. Unable to move, he tensed his muscles to warm himself. He described the moment he was permitted to cough in McGinley’s inspecting face as a «great relief,» as he could move and breathe again.[67]
For Schanz’s Pride victim, Fincher personally added blood to her, while her nose was taped to the side and her face covered in gauze.[11] To secure the film’s release, several scenes of Bottin’s effects work had to be cut.[66] Fincher described Seven as psychologically violent, implying violence without showing it in action.[50] Walker portrays the opening scene corpse, lying in a pool of blood. He said the blood was very cold, and had a minor panic attack once in place because he was worried about moving and ruining the shot.[13]
Title credits[edit]
Following the removal of the planned opening train ride with Somerset, Fincher needed a temporary title sequence to screen Seven for studio executives.[22][68][60][61][36] He recruited R/GA designer, Kyle Cooper, and his team to assemble a montage slideshow reflecting Doe’s perspective. This helped establish the character and his threat earlier in the film as he would not physically appear until Seven‘s final act.[22][68][61][36] The sequence was set to the «Closer» remix at Fincher’s request.[68][61]
The sequence was well received by executives who suggested retaining it for the theatrical release. Fincher did not want to appear as if he was accepting their suggestion and instructed Cooper to develop a new concept; Cooper convinced Fincher to use a more elaborate and detailed version of his slideshow.[68] Cooper focused on Doe’s elaborate journals, glimpsed briefly in the film, while Fincher suggested the sequence physically involve Doe.[68][36] Fincher wanted Mark Romanek to direct the sequence, being a fan of his music video for «Closer» and sharing similar design sensibilities, but Cooper secured the role because of his previous experience on similar title sequences.[68][61] Fincher told Cooper, «all I want is for the audience to want to run screaming from the theater during the title section.»[60]
The sequence depicts Doe’s preparations and routines for his murderous plans, such as cutting off his fingertips, processing photographs in his bathtub, and making tea (inspired by Cooper’s appreciation for the «elegant» way Doe stirs his tea following his surrender). As Doe writes in his journals, the sequence focuses on him crossing out words such as «pregnancy,» «marriage,» and other elements representing concepts of a «perfect life» that he does not believe people deserve.[68][60] Fincher said, «it was a way of introducing the evil. The idea was that you’re watching title sequences from the mind of somebody who’s lost it … [the audience] won’t understand while they’re watching it, but they’ll get it later.»[60] Doe’s journals were made by Clive Piercy and John Sabel, and cost tens of thousands of dollars to fill each one with text and images; about six complete journals were made, supplemented by blank ones on the shelves.[68][61][60] Artist Wayne Coe storyboarded the sequence, which was edited by Angus Wall and shot by Harris Savides.[61] Cooper regularly conferred with Wall on ideas, and spent the night before filming locating items that he believed would make interesting inclusions such as fish hooks and loose hairs from his drain.[68]
Filming took place over eight days, including two days filming a hand model stand-in for Doe.[60][36] Fincher was upset at the casting as the model’s hands were shorter and chunkier than Spacey’s.[60][68] A further five weeks were spent putting the sequence together.[68] Although digital options were available, Cooper’s team opted to assemble the sequence by hand, believing that any irregularities and accidents in the images incurred would enhance the overall aesthetic, and added manual scratches, tears, and pen marks direct to the film negative.[69][61] Fincher and Cooper devised a rough-looking text for the credits to appear as if written by a «disturbed hand.» Fincher said: «I always liked the idea that the titles would be written by Doe, hand-lettered … [Cooper and I] wanted to have them look personal, not typeset. I liked that it wasn’t slick.»[60][61][68] The text was etched onto a black-surfaced scratchboard and visually manipulated while being transferred to film to add a smear effect combined with different variants of the same text achieved by placing the text over a light box and filming them over-exposed, creating an animation-style effect.[61][68] «Disquieting» sounds were added throughout the sequence at a low frequency, such as barking dogs and screams. The title sequence cost $50,000.[60][61]
Release[edit]
Context[edit]
The theatrical box office of 1994 had achieved record grosses, with nine films earning more than $100 million, and the highest attendance (1.29 billion) since 1960 (1.3 billion). However, by 1995, the average cost of making and marketing a film had doubled since 1990, reaching $50.4 million, making it more difficult to turn a profit.[70][71] The rising salary cost of actors was a contributing factor, as studios vied to secure popular actors, such as Harrison Ford, Jim Carrey, Tom Cruise, and Arnold Schwarzenegger, who could generally guarantee a minimum level of box office success and held broad appeal outside of the United States (U.S.) and Canada.[71] If notable stars were unavailable, studios were forced to pay exorbitant salaries for lesser stars and pay other cast lower salaries to offset the costs.[71] The 1995 theatrical box office was in a downturn, the first quarter being about $90 million lower than the same period in 1994. Markets outside of the U.S. and Canada were growing, accounting for 41% of a film’s total revenue, including theatrical and home media profits, and outperforming the U.S. and Canadian box offices for the first time in 1994.[70] Anticipated films such as Batman Forever, Crimson Tide, and Pocahontas, were scheduled for release alongside the most expensive film of its time, Waterworld,[72][70] but New Line Cinema had low expectations for Seven, based on middling scores from test audiences.[73]
Marketing[edit]
New Line Cinema’s marketing president, Chris Pula, called the advertising campaign «risky» because it had to «prepare people» for Seven‘s violent and dark content while making it a topic of discussion among potential audiences.[74] Early trailers and newspaper, television, and radio advertisements focused on the seven sins, presenting Seven as an «edgy» prestige film instead of a jumpscare-style horror. Entertainment professionals also believed violent or horrific films had a limited appeal and rarely received positive reviews. Fincher’s public image had also been tarnished by the failure of Alien 3, and although Freeman and Pitt were proven stars capable of attracting audiences, New Line Cinema struggled to capitalize on Pitt’s popularity. His core audience, teenage girls, were not the target audience for Seven, and research showed that young men would avoid taking a romantic partner to films featuring him because they felt «threatened» by his appeal. The positive word-of-mouth following Seven‘s theatrical release led the marketing campaign to shift focus toward targeting Pitt’s female fans.[73]
The premiere of Seven took place on September 19, 1995, at the Academy of Motion Picture Arts and Sciences in Beverly Hills, California. The event featured over 800 guests, including Fincher, Freeman, McGinley, Spacey, Tia Carrere, Elliott Gould, Matthew Modine, Lori Petty, Lou Diamond Phillips, Michael Rapaport, Eric Roberts, Robert Rodriguez, Steven Seagal, John Singleton, Christian Slater, Quentin Tarantino, and Jennifer Tilly.[75]
Box office[edit]
Seven was released in the United States and Canada on September 22, 1995.[76] During its opening weekend, Seven earned $14 million across 2,441 theaters—an average of $5,714 per theater—making it the number 1 film of the weekend, ahead of the debut of Showgirls ($8.1 million), and To Wong Foo, Thanks for Everything! Julie Newmar ($4.5 million), in its third week of release.[76][77][78] It became the highest-grossing opening September weekend of its time, replacing 1991’s Freddy’s Dead: The Final Nightmare ($12.6 million).[79] The successful opening was credited to the marketing campaign overcoming audience scepticism, as well as, in part, Pitt’s popularity with males and females, although the opening audience skewed more male, as well as lack of competing action films. New Line Cinema distribution executive, Mitch Goldman, had moved up the release date of Seven to avoid this competition as well as strategically opening the film in more theaters than usual to target suburban and small-town locations where Pitt’s recent films had fared well.[79][73][74]
The film remained number 1 in its second weekend, ahead of the debuts of Halloween: The Curse of Michael Myers ($7.3 million) and Devil in a Blue Dress ($5.4 million), and in its third weekend ahead of the debuting Assassins ($9.4 million) and Dead Presidents ($8 million).[80][81] Seven remained the number 1 film until its fifth weekend, falling to number 3 behind the debuts of Get Shorty ($12.7 million) and Now and Then ($7.4 million), and was among the top ten-highest-grossing films for nine weeks.[74][82][83][76] Seven had grossed about $87 million by the end of December, when it received a wide re-release in select locations to raise the film’s profile during the nomination period for the 1996 Academy Awards.[84] The re-release helped raise Seven‘s box office to about $100.1 million, making it the ninth-highest-grossing film of 1995, behind Casper ($100.3 million), Jumanji ($100.5 million), GoldenEye ($106.4 million), Ace Ventura: When Nature Calls ($108.4 million), Pocahontas ($141.6 million), Apollo 13 ($173.8 million), Batman Forever ($184 million), and Toy Story ($192.5 million).[76][85] Estimates by industry experts suggest that as of 1997, the box office returns to the studio—minus the theaters’ share—was $43.1 million.[86]
Seven also performed well outside of the U.S. and Canada, receiving positive audience reactions and successful debuts in countries such as Australia ($1.8 million), South Korea ($808,009), Seoul ($961,538), New Zealand, and the Netherlands.[87] Seven is estimated to have earned a further $227.2 million, giving it a total worldwide gross of $327.3 million, and making it the seventh-highest-grossing film worldwide, behind Apollo 13 ($335.8 million), Batman Forever ($336.5 million), Pocahontas ($347.1 million), GoldenEye ($356.4 million), Toy Story ($365.3 million), and Die Hard: With a Vengeance ($366.1 million).[76][88][32][f] Seven became one of the year’s most profitable films,.[89] Seven was an «unexpected success» and became «one of the most successful movies of the year.»[74]
Reception[edit]
Critical response[edit]
Critics such as Ebert and Howe described Seven as an intelligent and well-made film that could comfortably stand alongside other thrillers.[g] Others compared Seven unfavorably with The Silence of the Lambs and The Usual Suspects, believing it lacked the same intelligent narrative, and took itself too seriously as an examination of evil instead of a «silly piece of pulp.»[h] The Orlando Sentinel said, however, that Seven did offer a «terrific film-noir atmosphere» and excellent performances, with The Seattle Times saying that the film would be «unendurable» without Freeman and Spacey.[100][101]
Critics unanimously praised Freeman’s performance.[i] Terrence Rafferty and Kenneth Turan wrote that Freeman’s «exceptional» performance was mainly responsible for making Seven watchable in spite of itself.[91][98][101] Desson Howe and James Berardinelli said the performance elevated Pitt’s own to appear «actorly,» although Freeman often stole every scene in which he appeared, providing a fresh take on an otherwise cliché role.[92][93][94][100] Reviews of Pitt’s performance were polarized between those who found it «energetic» and impressive, and those who believed the role was beyond his acting abilities.[j] Some reviewers found his performance to continue his successful transition to more serious roles from those based mainly on his appearance,[102][94][96] although Howe said Pitt’s presence did more for Seven than his acting.[92] The Orlando Sentinel said what could have been a cliché role was saved by Mills not being inept or inexperienced, just out of his depth on this particular case.[100] Some reviews said that the character was underdeveloped, pointless, stupid, and not particularly likeable, and that Pitt’s performance lacked the subtlety or effectiveness to compensate.[k] Critics positively received Paltrow’s performance, believing she made the most of her limited screentime and was generally underutilized, while considering the character a «flimsy contrivance».[l] Spacey’s performance was also praised for its creepy and understated portrayal of an intelligent character who does not undermine themselves with «a moment of sheer stupidity.»[m]
Fincher’s directorial style was praised for its «striking craftmanship», and «stunning» visuals that often thrilled and exasperated the viewer simultaneously.[94][96][92][103] In contrast, Rafferty said that his style was less effective stretched over the film’s runtime and that Fincher mistook darkness for profundity and chose style over coherence.[98][101][95][91] Although Siskel considered Walker’s script to be smartly written,[104] several critics were less enthusiastic, finding the dialogue trite, many scenes implausible, and character motivations weak.[103][101][100] Jami Bernard and Richard Schickel wrote that Seven lacked many of the essentials prevalent of its genre such as suspense, witty dialogue, and cathartic humor, or the psychological depth to match the intellectual thrills of its peer, The Silence of the Lambs.[97][101][105]
The violent content of Seven was generally negatively received.[74] Critics such as Berardinelli and Gene Siskel found the gore excessive and «gratuitous».[n] While some found the violent visuals to be tiresome and detracting, others believed that Fincher skilfully avoided showing the violence that led to the deaths, preventing them from distracting from Seven‘s more enjoyable aspects.[93][100][96] Even so, Ebert and Turan believed Seven would be too disturbing for many viewers.[90][91] Fincher responded, «I didn’t set out to piss off the people who are upset. I was told that Michael Medved [film critic at the New York Post] wrote that the movie was evil, but I’m sure he slows down when he passes an accident just like everyone else. Death fasicnates people, but they don’t deal with it.»[50] Howe and Owen Gleiberman felt the ending was «like an act of treachery against the viewer,» undermining any hope for a positive outcome,[92][96] and Barry Norman said it denied the audience «even of the final comfort they fully deserve.»[106] Roger Ebert, however, found the ending to be «satisfying,» but underwhelming compared to the film’s earlier events.[90] Audiences polled by CinemaScore gave the film an average grade of «B» on a scale of A+ to F.[73][107]
Accolades[edit]
Seven received one nomination at the 68th Academy Awards for Best Editing (Richard Francis-Bruce),[32][108] and Walker was nominated for Best Original Screenplay at the 49th British Academy Film Awards.[109] At the MTV Movie Awards, Seven received three awards, Best Movie, Most Desirable Male (Pitt), and Best Villain (Spacey).[110]
Thematic analysis[edit]
Apathy and hope[edit]
The apathy of the unnamed city’s inhabitants is a central theme in Seven.[31][111][24] Somerset does not believe the city can be saved, intending to retire outside of its confines, and telling Mills that women are taught to yell «fire,» not «help,» because people are more likely to pay attention if they selfishly think themselves in danger.[112][111] Taubin described the city as an infection point for corruption, where signs of violence and decay are omnipresent in its dark corners and rain, as well as the television reports, fights, screams, and children in impoverished apartments. Dyer compared the near ubiquitous rain to films such as Blade Runner (1982), as a constant, near inescapable presence, which in Seven can represent sin seeping into every gap. The bleak aesthetic of the city implies a layer of moral decay and indifference by its inhabitants, that enables Doe’s plan.[89][112][113][114][33] Somerset has not stopped caring, but he has become as apathetic as those around him because of the futility of his efforts. Seven reinforces this in several scenes, such as when his concerns that a child witnessed a murder are dismissed, the police captain’s indifference to a mugger needlessly stabbing out his victim’s eyes, and the sex club manager who dislikes his role but sees no alternative.[31][115] Even so, Somerset tries to spare Tracy from the influence of the city by advising her to leave with her unborn child.[111][24]
Somerset and Doe both perceive the ubiquity of sin and indifference toward it. There are parallels in how both men live alone, are devoted to their work, and do not have any meaningful relationships. Although there is mention of Somerset’s former partner and some degree of respect with his colleagues, he tells Tracy that «anyone who spends a significant amount of time with me finds me disagreeable.» Doe’s apartment is a reflection of his own isolation from society.[111][115] They differ, however, in their response to sin: Somerset has surrendered to apathy and sorrow, while Doe feels contempt for society and has assumed a role as their punisher.[116][111] It is implied that Somerset was once passionate about his work until he realized he could not change things, while Doe is dedicated and passionate, believing wholeheartedly in the change his work will bring.[111] Somerset has never killed anyone, and retains a spark of hope that humanity can be better, while Doe kills freely, believing humanity is beyond saving. When Mills tells Doe he is killing innocent people, Doe replies, «only in a world this shitty could you even try to say these were innocent people and keep a straight face. But that’s the point. We see a deadly sin on every street corner, in every home, and we tolerate it. We tolerate it because it’s common, it’s trivial. We tolerate it morning, noon, and night. Well, not anymore.»[111][24][116]
Mills and Somerset are contrasting characters in terms of temperament, morality, intelligence, and personal connections.[117] Somerset is analytical, wise, experienced, and meticulous, while Mills is young, messy, and inexperienced, but full of potential.[115][118] Mills is optimistic and relatively light-hearted, choosing to move to the city because he believed he could have a positive influence until everything is taken from him.[111] Goldberg wrote that Mills and Tracy are naive to the city’s corruption, demonstrated by how they are tricked into renting an apartment that experiences constant shaking from nearby trains.[31][111][119] Dyer said Tracy, in particular, represents potential virtue, but as she is used infrequently to conceal her eventual fate, her impact is reduced.[120]
Doe’s plan does work, shocking Somerset out of his apathy and inspiring him to defer his retirement and fight for a better future.[111] Walker said of the ending, «it’s about «optimist Mills» … going up against this pessimistic kind of world-weary detective in Somerset … those dramatically opposed points of view are pushing and pulling each other throughout the story. And then once pessimism is confirmed, even to the optimist who’s been arguing that the fight is always worth fighting, will the pessimist in the light of confirmation of all his worst predictions, will he stay or will he walk away?»[13] Rosenbaum described it as a «touching, old-fashioned faith in the power of good to reassert itself,» tempered by the fact the hope is inspired by a self-martyred serial killer. He criticized that Seven chose style over substance, giving the overall message that we «remain exactly where we are.»[34] Dyer compared Doe to Hannibal Lecter in The Silence of the Lambs, in terms of ability to outthink and manipulate the authorities combined with his artistic method of arranging his murders, but that they are contrasted by their different social statuses, Lecter being an educated professional and a preference for luxury, while Doe is seemingly self taught, unemployed, and obsessed only with his mission.[121] However, Rosenbaum said that unlike The Silence of the Lambs, Seven did not «exploit its psycho killer for cheap laughs or blind hero worship.»[117] Nayman found Seven problematic, believing it did venerate Doe as having a valid criticism of society.[34]
Religion and order[edit]
Doe’s murders are described by Somerset as his sermons to the masses.[122] Dyer and Saunders describe Doe as conducting a violent crusade demonstrating the consequences of moral decay and sinning, based on his own interpretation of Christian ideology, in a city compared to the biblical Sodom and Gomorrah.[123][124] Writer Patricia Moir said that theorists in the late 1990s believed a growing trend in North America resulted in the decay of social meta narratives of order created by religion, science and art, in turn diminishing societal norms, and that in absence of these paradigms, all that remained was the chaos of existence.[119] Somerset tries to create order using the ticking of a metronome to disguise the disordered noise of sirens and screams outside his apartment.[119][125] Dyer wrote that Somerset smashing the metronome is him acknowledging he can no longer ignore the darkness of the city.[126] Doe creates order by filtering literature about the seven deadly sins and works by authors such as John Milton through a lense of religious fanatacism.[119] He believes his purpose is given by God, which is reflected in the opening credits depicting Doe cutting the word «God» from a dollar bill; Kyle Cooper said, «I hesitated on that one but decided to do it because John Doe took it on himself to play God.»[60]
Doe rationalizes that everyone is guilty of sin or wishing ill on other sinners.[119][124] According to Dyer, Doe is conscious he is also a sinner and so his plan involves his own death.[123][127] Goldberg wrote that Doe is the true sin of wrath, evidenced by his violent acts, but to complete his plan he must make Mills «become» wrath, and gives himself the sin of «envy». His resigned acceptance of the sin is, according to Goldberg, because there is no other sin for him to take and he is conscious that sins will not end with his death. Doe transferring wrath to Mills also demonstrates the infectiousness and pervasiveness of sin.[31] When Mills kills Doe it can be considered an act of good and justice, eliminating a remorseless force of evil, but he commits the act purely for revenge.[31] Film professor Richard Dyer suggests that Doe did not know how to conclude his plan until meeting with Mills while disguised as a photographer, during which Mills displays his wrath.[14] Writer Shaina Weatherhead believed Seven foreshadows the importance of the wrath and envy sins throughout, identifying the color red as representing wrath and green representing envy, colors which appear often: Somerset has a red lamp, Mills drinks from a green mug, and there are background green buildings with red address numbering.[118]
Seven features subtle references to the number seven, reinforcing the religious subtext, such as the Doe’s plan culminating on Sunday, the seventh day of the week and the biblical day of rest, on which Doe’s package for Mills is delivered at 7:01pm.[128] In researching Doe, Somerset references material including «The Parson’s Tale» by Geoffrey Chaucer, which discusses penance, Dante Alighieri’s Divine Comedy and its seven terraces of purgatory, a Catholic dictionary, and a reference to seven children being slain.[129] There are also references to art in Seven such as a stack of spaghetti cans resembling Campbell’s Soup Cans by Andy Warhol. Journalist Kim Newman considered each of Doe’s kills to be arranged as an artistic piece dedicated to each sin.[127] Commentary appears on the excesses of performance art and culture of celebrity, with Mills referring to Doe as a «movie of the week» and a «fucking T-Shirt», implying his legacy will be brief before fading into obscurity. Moir said that Seven provides no final answers about Doe’s legacy, but implies that things have potentially only gotten worse.[119]
Post release[edit]
Home media[edit]
Seven was released on VHS, DVD, and Laserdisc in 1996.[130][131][132][133][134] A 2-disc special edition DVD released in 2000, introduced additional features including a remastered picture scanned from the original film negative, extended or deleted scenes, the original opening with Somerset and cut-to-black ending, production photos and designs, and storyboards for an alternate ending. The release also included four commentary tracks: Pitt, Fincher, and Freeman discussing Seven; a discussion between Fincher, De Luca, Francis-Bruce, Walker, and film studies professor Richard Dyer; Khondji, Max, Dyer, Francis-Bruce, and Fincher; and an isolated music and effects score with commentary by Shore, Klyce, Dyer, and Fincher.[134] The film was released on Blu-ray Disc in 2010, featuring remastered visuals and containing all of the additional content present in the special edition, with an additional collectible DigiBook version containing production notes and photo stills.[135][136]
The Seven soundtrack was released with the film in November 1995. The 11-track compact disc and cassette tape release contained several of the songs used in the film, such as «Guilty» and «In the Beginning», as well as two pieces of the score («Portrait of John Doe» and «Suite from Seven»), but omitted «Closer» and «The Hearts Filthy Lesson».[62][58][63] A bootleg recording of the score was released in the late 1990s, before an official debut of the full 16-piece score in 2016.[137][58]
Other media[edit]
A novelization of Seven, written by Anthony Bruno, was released alongside the film in November 1995.[138] A seven-issue comic book series, Seven, was released between September 2006 and October 2007 by Zenescope Entertainment. Serving as a prequel to the events of the film, the comic book focuses on Doe and the planning of his crimes.[139]
Legacy[edit]
Critical reassessment[edit]
Seven is now regarded as one of the best thriller,[o] crime,[p] and mystery films ever made.[q] Some publications have listed Seven among the greatest films of all time.[r] A 2014 poll of 2,120 entertainment industry professionals by The Hollywood Reporter ranked Seven as the eighty-fifth-best film of all time.[159] Review aggregator Rotten Tomatoes offers a 82% approval rating from the aggregated reviews of 85 critics, with an average score of 7.9/10. The website’s critical consensus says: «A brutal, relentlessly grimy shocker with taut performances, slick gore effects, and a haunting finale.»[160] The film has a score of 65 out of 100 on Metacritic based on 22 critics’ reviews, indicating «generally favorable reviews».[161]
Retrospectives have identified Seven as retaining its appeal over its peers due to its bleak, often imitated but rarely equalled ending, as well as Fincher’s story-focused directorial style.[30][20] Critic Matt Goldberg described Seven as timeless because of its stylized reality that is not linked to any particular time or place, and lack of popular culture references, advertisements, or focus on technology.[31] Discussing Seven‘s lasting positive legacy as a thriller, Walker said: «I know a lot of people hate Seven and think it’s just garbage, so it’s good to be humbled in that way. I’m really proud of it … Looking back at the time that’s passed, I feel extremely lucky that they never managed to make a sequel to it … I’ve been lucky that they’ve not managed to make a prequel to it, which, in my opinion, sucks all of the kind of meaning and energy out of who and what John Doe represents. I love that it’s still a standalone piece.[13] Seven is included in the 2013 film reference book 1001 Movies You Must See Before You Die,[162] and has been listed among Pitt’s and Fincher’s best films.[163][164]
Cultural influence[edit]
Seven helped Pitt’s transition into more serious and dramatic acting roles. He and Paltrow became romantically involved before the film’s release, and Pitt would work again with Fincher on films such as Fight Club (1999).[30][2][18][13] It also established Freeman as a mentor-type figure, an archetype he would reprise in many projects thereafter.[30] After the failure of Alien 3, Seven revitalized Fincher’s feature film career, establishing him among the most iconoclastic Hollywood directors of his generation; he would direct The Game (1997), Fight Club, and Panic Room (2002) over the next few years. Walker and Shore collaborated with Fincher on several other projects.[18][32][28][165][166] Describing the personal impact on himself, Walker said «ten years down the line, if nothing else got produced. I’d still have this great movie on video … when I’m run out of town, living my old age, running a miniature golf shop, I can always have what I’ve dreamt of having since I was very young.»[4] In a 2022 interview, MacKay (Sloth) said that he was still earning «healthy residual payments» for his role, and would occasionally be recognized in public by fans.[7] He said: «people still think they used a dummy in that scene … I get that a lot. But that was me.»[7]
Seven inspired many filmmakers, and is considered influential on crime-based films and television shows that replicated its grim aesthetic, body horror imagery, lighting, and premise of disenchanted detectives pursuing criminals with distinct killing methods and motivations, featured in Kiss the Girls (1997), The Bone Collector (1999), Along Came a Spider, The Pledge (both 2001), the Saw series (2003), and television series Prodigal Son (2019–2021).[167][30][140] Collider said Seven caused a resurgence in faith-based horror, supernatural, and apocalyptic mystery films.[140] The superhero film, The Batman (2022), shares similar style and tone with Seven, and publications such as Rolling Stone called it «part superhero blockbuster, part 1970s-antihero homage, and part Seven remake.»[168] Seven‘s use of alternative music by Nine Inch Nails is also seen as contributing to more mainstream use of similar songs in films such as Final Destination (2000), Lara Croft: Tomb Raider (2001), and Resident Evil (2002).[30]
The title credit sequence for Seven was called «one of the most important design innovations of the 1990s» by the New York Times.[61][68] Art of the Title described it as the beginning of a «renaissance in title design, particularly in the horror genre, and its influence was evident over two decades after Seven‘s release.[61] In 2011, IFC ranked the sequence as the third best ever made, behind those of Vertigo (1958) and A Hard Day’s Night (1964),[61] and its style can be seen in the opening credits of films such as The Bone Collector, Red Dragon, and Taking Lives (2004).[30]
The film’s twist ending is considered one of the best in cinematic history.[s] Pitt’s dialogue, «What’s in the box?», as he asks Somerset to confirm the contents of Doe’s box, has become iconic, used in popular culture and memes.[144][176][177][178][24] Walker said «[The twist is] one of the reasons I think Seven did well … because people went in and they did not know in the first ten minutes exactly how the movie was going to end.»[24] Although it is only implied that Tracy’s head is in the box, Fincher recalled an encounter with a woman who said, «‘There is no need to make a stand in of Gwyneth Paltrow’s head to find in the box. You don’t need to see that.’ And I said, ‘Well, we didn’t.’ And she said, ‘Oh yes, you did.’ So, the imagination, if properly primed, can do more than any army of makeup artists.»[26][31] John Doe has been named by several publications as one of the great cinematic villains.[179][180][181][182]
Sequel[edit]
A sequel, Ei8ht, was proposed by New Line Cinema in 2002, based on a repurposed spec script titled Solace by Ted Griffin about a psychic serial killer pursued by a similarly psychic detective, Somerset. The idea was eventually abandoned after principal Seven cast and crew, including Freeman and Pitt, expressed no intention to return for a sequel and Fincher said «I would be less interested in that than I would in having cigarettes put out in my eyes.»[t] The script was made into the standalone thriller, Solace (2015), which was a critical and commercial failure.[187]
References[edit]
Notes[edit]
- ^ Attributed to multiple references:[13][17][18][19][20][21]
- ^ Attributed to multiple references:[26][33][34][20][22]
- ^ Attributed to multiple references:[22][19][26][20][17][13][33]
- ^ Attributed to multiple references:[20][22][21][33][24]
- ^ The 1995 budget of $33–$34 million is equivalent to $58.7 million–$60.5 million in 2021.
- ^ The 1995 theatrical box office gross of $327.3 million is equivalent to $582 million in 2021.
- ^ Attributed to multiple references:[90][91][92][93][94]
- ^ Attributed to multiple references:[95][96][97][98][99][93]
- ^ Attributed to multiple references:[92][95][93][91][101][94][98][99][100][96]
- ^ Attributed to multiple references:[92][94][102][97][99]
- ^ Attributed to multiple references:[93][91][101][97][99]
- ^ Attributed to multiple references:[93][91][101][94][97][100]
- ^ Attributed to multiple references:[93][103][101][100][96]
- ^ Attributed to multiple references:[93][101][105][104][90]
- ^ Attributed to multiple references:[140][1][141][142][143][144][145]
- ^ Attributed to multiple references:[146][147][148]
- ^ Attributed to multiple references:[149][150][151][152][153][154]
- ^ Attributed to multiple references:[155][156][157][158]
- ^ Attributed to multiple references:[54][169][170][171][172][173][174][175]
- ^ Attributed to multiple references:[10][183][184][185][186][187]
Citations[edit]
- ^ a b Fowler, Matt (October 7, 2022). «The 12 Best Thriller Movies Of All Time». IGN. Archived from the original on October 12, 2022. Retrieved October 19, 2022.
- ^ a b c d e f g h i j k l Hruska, Bronwen (September 17, 1995). «Movies : Don’t Call Him Sexy : Ok, Brad Pitt Has An Undeniable Smoldering Presence That’s Fueling His White-Hot Career. But He Doesn’t Want To Talk About That Cheesy Stuff. Honest». Los Angeles Times. Archived from the original on August 2, 2021. Retrieved September 8, 2022.
- ^ Gaughan, Liam (September 14, 2021). «Ranking Morgan Freeman’s 20 Best Roles». /Film. Archived from the original on September 2, 2022. Retrieved September 10, 2022.
- ^ a b c d e f g h i Montesano 1996, p. 48.
- ^ a b Mirjalili, Fatemeh (May 17, 2022). «Brad Pitt Did Everything In His Power To Keep Seven‘s Ending Intact». /Film. Archived from the original on September 2, 2022. Retrieved September 10, 2022.
- ^ Wenzel, Zac (August 3, 2022). «R. Lee Ermey’s Best Performances, Ranked». MovieWeb. Archived from the original on September 11, 2022. Retrieved September 11, 2022.
- ^ a b c d e f g h i j k Alexander, Bryan (September 14, 2021). «Seven Turns 25: How Sloth, The Gnarliest Victim, Gave Brad Pitt And Morgan Freeman A Real Fright». USA Today. Archived from the original on September 10, 2022. Retrieved September 10, 2022.
- ^ Dyer 1999, p. 39.
- ^ «Se7en (1995)». British Film Institute. Archived from the original on November 9, 2022. Retrieved November 8, 2022.
- ^ a b c d e De Wolfe, Danielle (June 12, 2011). «30 Facts About Se7en«. ShortList. Archived from the original on October 26, 2022. Retrieved November 8, 2022.
- ^ a b c d e f g h i Ascher-Walsh, Rebecca (October 6, 1995). «The Corpse Stars Of Seven«. Entertainment Weekly. Archived from the original on September 2, 2022. Retrieved September 11, 2022.
- ^ a b Gray, Niall (April 30, 2022). «Se7en Ending Explained (In Detail)». Screen Rant. Archived from the original on May 3, 2022. Retrieved September 2, 2022.
- ^ a b c d e f g h i j k l m n o p q r Burns, Ashley; Schildhause, Chloe. «Seven Screenwriter Andrew Kevin Walker Looks Back At What’s Inside The Box, 20 Years Later». Uproxx. Archived from the original on October 21, 2022. Retrieved November 8, 2022.
- ^ a b c d e f g h «25 Deadly Serious Facts About Seven«. Yahoo!. September 18, 2015. Archived from the original on September 28, 2022. Retrieved November 8, 2022.
- ^ «George Christy, Veteran Hollywood Columnist, Dies at 93». The Hollywood Reporter. August 12, 2020. Archived from the original on November 8, 2022. Retrieved November 8, 2022.
- ^ Dyer 1999, p. 88.
- ^ a b c d e Meyer, Joshua (June 30, 2022). «How David Fincher’s Stubbornness Saved Seven’s Chilling Finale». /Film. Archived from the original on September 28, 2022. Retrieved October 25, 2022.
- ^ a b c d e f g h i Couch, Aaron (January 13, 2017). «Seven Screenwriter On How A Mix-up With David Fincher Led To Its Gutsy Ending». The Hollywood Reporter. Archived from the original on September 29, 2022. Retrieved October 25, 2022.
- ^ a b c d e f g h i «Movie Releases For September 1995». Entertainment Weekly. August 25, 1995. Archived from the original on September 28, 2022. Retrieved October 26, 2022.
- ^ a b c d e f g h i j k l m n Lambie, Ryan (September 22, 2019). «Seven: The Brilliance Of David Fincher’s Chase Scene». Den of Geek. Archived from the original on September 29, 2022. Retrieved October 26, 2022.
- ^ a b c d Montesano 1996, p. 49.
- ^ a b c d e f g h i j k l m n o Wilson, Sean (September 24, 2020). «Seven: 25 Facts To Celebrate The 25th Anniversary Of The Thriller Classic». Cineworld. Archived from the original on September 28, 2022. Retrieved September 25, 2022.
- ^ Montesano 1996, pp. 48–49.
- ^ a b c d e f g h i j k l m n o Smith, C. Molly; Robinson, Will (September 22, 2015). «Years Later, Why Seven Still Has One Of The Most Shocking Endings In Cinematic History». Entertainment Weekly. Archived from the original on September 2, 2022. Retrieved November 2, 2022.
- ^ a b c d Hawkes, Rebecca (September 23, 2015). «‘The Head Stays In The Box’: 7 Alternative Se7en Endings». The Daily Telegraph. Archived from the original on December 13, 2017. Retrieved October 25, 2022.
- ^ a b c d e f g Salisbury, Mark (January 18, 2009). «David Fincher». The Guardian. Archived from the original on September 26, 2022. Retrieved October 26, 2022.
- ^ Montini, Franco (June 12, 1995). «Cinema Is Divided By Penta». la Repubblica (in Italian). Archived from the original on November 27, 2022. Retrieved November 27, 2022.
- ^ a b c d e f g Ducker, Eric (September 21, 2020). «Dismantling The Myth Of David Fincher». The Ringer. Archived from the original on September 28, 2022. Retrieved October 25, 2022.
- ^ a b c d Rowles, Dustin (July 30, 2015). «Clarice Starling In Hannibal And Other Roles Christina Applegate Missed Out On». Uproxx. Archived from the original on September 28, 2022. Retrieved September 25, 2022.
- ^ a b c d e f g h Bradshaw, Paul (September 23, 2020). «Blood, Bodies And The Box: How Seven Changed Film And TV Forever». NME. Archived from the original on September 29, 2022. Retrieved October 25, 2022.
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Works cited[edit]
- Dyer, Richard (1999). Seven. London: British Film Institute. ISBN 0-85170-723-8.
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External links[edit]
- Seven at AllMovie
- Seven at Box Office Mojo
- Seven at IMDb
- Seven at Metacritic
- Seven at Rotten Tomatoes
- Seven at the TCM Movie Database
В этом году исполнилось 20 лет с момента выхода культового триллера «Семь» Дэвида Финчера. Кинолента собрала немало престижных наград, пользовалась успехом среди зрителей и критиков, а ее кассовые сборы в 10 раз превысили бюджет. Об истории появления этого фильма вам расскажет данный пост.
Неприятный город Кевина Эндрю Уокера
А началось все в конце 1980-х, когда Кевин Эндрю Уокер переехал в Нью-Йорк. Уокер получил кинематографическое образование, но как часто это бывает не смог найти ему применения и в итоге устроился продавцом в музыкальный магазин. Нью-Йорк никогда не нравился Уокеру – этот город производил на него весьма гнетущее впечатление. Но с другой стороны, именно эта неприязнь, депрессия, ощущение городского упадка, а также тот факт, что Уокер не мог себя реализовать в какой-то момент и дали начало идее сценария триллера под названием «Семь», действие которого происходило в неназываемом мегаполисе, в котором легко угадывался Нью-Йорк.
К 1991 году Уокер завершил первую версию сценария «Семи». Но сам по себе готовый скрипт это еще не успех – успех, это продать его. Этап поиска покупателей стал самым сложным для Уокера, у которого не было никаких связей в Голливуде. Он безрезультатно обивал пороги студий, а затем начал обзванивать агентов, представляющих профессиональных сценаристов, работающих в жанре триллера. Наконец ему повезло пообщаться с Дэвидом Кеппом, который согласился прочитать его сценарий.
Работа Уокера так понравилась Кеппу, что он решил показать ее представителям студии New Line Cinema. New Line в те годы пыталась разрушить сложившуюся у нее репутацию производителя небольших фильмов и выпустить полноценное кино категории А (т.е. с большим бюджетом и звездами в главных ролях). Некогда студия была спасена от банкротства «Кошмар на улице вязов» — вполне возможно, что продюсеры воспользовались данной аналогией, когда решили, что мрачный «Семь» это именно тот проект, который станет для студии переломным.
Отличия начального сценария от фильма
Во многих элементах начальный сценарий «Семи» был схож с конечным фильмом, но в то же время между ними имелся и ряд существенных отличий. Скрипт начинался со сцены, где собирающийся в отставку детектив Сомерсет осматривал находящийся в сельской местности дом, который он собирался купить, после чего возвращался в город на поезде. Именно в этой сцене должны были показываться титры фильма. Также нам отдельно представляли детектива Миллса в сцене, где он избивал парочку автоугонщиков.
Общая последовательность первых пяти жертв их и способов убийств в сценарии примерно соответствовала фильму, однако опять же имелся ряд отличий. Например, каждый грех ассоциировался с определенным цветом и символом, которые Джон Доу оставлял на месте преступления. В ходе своего расследования Сомерсет находил небольшую заброшенную церковь, стены которой были украшены витражами с изображениями семи смертных грехов – в сценах убийств маньяк воссоздавал именно эти картины. Также выяснялось, что при этой церкви существовал приют для сирот и содержавший его священник издевался над детьми. Как не сложно догадаться, Джон Доу (в начальном сценарии это было его настоящим именем) был одним из воспитанников этого приюта.
Что касается самого Доу, то в начальной версии сценарии по ходу действия с ним было несколько сцен. Нам показывали как он осматривает места своих будущих действий, а также следит за детективами. В одном эпизоде он даже проникал в квартиру Миллса, после чего он со своей женой Трейси переезжали в безопасный дом.
В сцене, где Миллс и Сомерсет находили жилище Доу (кстати, в этой версии идея использовать библиотечный поиск принадлежала Миллсу) никакой погони не было – маньяк выпускал в их сторону рожок из Узи, после чего детективы благоразумно решали остаться на месте и не преследовать его.
Съемочные раскадровки этого эпизода
Еще одна важная разница между сценарием и фильмом заключалась в отношениях Трейси и Сомерсета, которые в в какой-то момент начинали выходить за грань платонических.
Но самое большое отличие начиналось в третьем акте. После того, как Доу сдавался полиции, он заявлял, что покажет место захоронения двух последних жертв лишь Миллсу и никому другому. В итоге, детектив соглашался и отправлялся с Доу за город. Там Доу заводил в его в заброшенный склад, где он заранее подготовил себе путь для побега. Доу удавалось сбежать. Миллс пускался в погоню за ним и попадал к маньяку в заложники.
В финале, Сомерсет отправлялся к заброшенной церкви, где Доу собирался провести свой последний ритуал и убить Миллса. В ходе конфронтации Доу стрелял в Миллса, после чего разъяренный Сомерсет простреливал маньяку руки и ноги, а затем сжигал заживо. Что касается Миллса, то он умирал от ранений. После похорон, беременная Трейси прощалась с Сомерсетом и уезжала из города, а тот принимал решение остаться в полиции.
Как видно, при той же идее и персонажах, начальная версия «Семи» была более традиционной – нам показывали маньяка, давали его предысторию, ну и конечно же финал с похищением и перестрелкой это и близко не то, что было в кино. Будь фильм снят по этому сценарию, вероятно получился бы крепкий триллер, который однако вряд ли бы вспоминали спустя столько лет. Правда стоить сказать, что уже тогда Уокер придумал версиб третьего акта с «головой в коробке» — однако продюсеры забраковали ее, сочтя слишком мрачной.
Подбор съемочной группы
Когда Уокер писал свой сценарий, то видел в роли детектива Сомерсета Уильяма Херта. Я не знаю, получил ли он предложение сыграть эту роль или нет, но знаю точно, что его получил Аль Пачино, который в итоге отказался от предложения. Это опять же роднит «Семь» с «Обычными подозреваемыми», где Пачино также предлагали роль полицейского. Партия Миллса предлагали Дензелу Вашингтону и, как ни странно, Сильвестру Сталлоне, но оба к сожалению или к счастью прошли мимо. В итоге ее получил Брэд Питт, который также уговорил свою тогдашнюю подругу Гвинет Пэлтроу сняться в роли Трейси.
Что касается режиссера, то предложение снять фильм получили Гильермо Дель Торо и Дэвид Кроненберг — и оба благополучно отказались (Дель Торо по причине того, что проект был слишком мрачным для него). Затем в New Line вспомнили про Дэвида Финчера, который после катастрофического опыта с «Чужим 3» вот уже как почти два года сидел без работы. Впрочем, сам Финчер не горел желанием возвращаться в Голливуд, как-то заявив что лучше заработает рак кишечника, чем станет снимать еще один фильм. Но продюсеры все же рискнули отправить ему сценарий. Настроение истории «Семь» так удачно совпало с настроением Финчера, что в итоге он дал согласие поставить картину.
Правда, вскоре выяснилось, что по ошибке ему прислали версию сценария с «головой в коробке», которая на тот момент считалась отвергнутой. Финчер не горел желанием снимать фильм с концовкой в церкви, также он наотрез отказался от предложенного продюсером Арнольдом Копельсоном варианта, где Доу похищал Трейси и герои должны были найти ее и спасти. Так что в какой-то момент все это начало опасно напоминать «Чужого 3». Но к счастью, на сторону режиссера встал Брэд Питт, который пригрозил отказаться от роли, если в фильме будет другая концовка.
Последним важным приобретением проекта стал Кевин Спейси, который получил роль Джона Доу всего за два дня до начала съемок. Изначально, на эту роль претендовал Р. Ли Эрми, но в итоге ему доверили партию босса главных героев. Также сыграть Доу предлагали Вэлу Килмеру, но он отказался. Спейси предложил продюсерам не упоминать его имя в начальных титрах, чтобы то, кто играет убийцу, оставалась для зрителей загадкой. Также таким хитрым способом он избавил себя от необходимости участвовать в промо компании фильма.
Другие концовки «Семи»
Хоть продюсеры и согласились на вариант концовки с головой в коробке, они все же до последнего хотели как-то смягчить финал. Порой доходило до откровенного абсурда — например, предлагалось заменить оригинальную голову на голову собаки Миллса. В одной из версий сценария, датированной августом 1994 года, финал немного отличался от киношного: Сомерсет пытался остановить Миллса, после чего тот ранил его, а затем убивал Доу. В больнице Сомерсет получал записку от Миллса с текстом «Ты был прав. Ты был во всем прав». Выходя из больницы, герой возвращался на работу в полицию.
Но куда более известный вариант присутствовал в съемочном сценарии, датированным ноябрем 1994 года. В нем, Сомерсет, чтобы дать напарнику шанс на дальнейшую жизнь и не позволить Доу победить, в последний момент убивал маньяка, после чего говорил потрясенному Миллсу, что уходит в отставку. Моргану Фриману эта версия нравилась, но Финчер и Питт настаивали на оригинальном варианте, который был снят первым и утвержден после тест-просмотров. Финал с Сомерсетом убивающим Доу остался лишь в форме раскадровок.
В итоге единственным изменением, которое было внесено в финал по настоянию студии, стала добавленная сцена, где Миллса увозят на полицейской машине сопровождаемая закадровым голосом Сомерсета: «Эрнест Хэмингуэй как-то написал: “Мир это прекрасное место, и за него стоит бороться”. Со второй частью я согласен».
Начальные титры
Несмотря на то, что город из «Семи» являлся олицетворением погружающегося в бездну морального упадка Нью-Йорка, основная часть съемок проходила в Лос-Анджелесе. Освещение, декорации, операторская работа Дариуса Хонджи – все было сделано для того, чтобы перенести на экран ощущение депрессии и безнадежности.
Кстати, это не кукла. Третью жертву играл актер — ну, очень тощий актер, который весил всего 40 килограмм
Изначально, титры фильма должны были проигрываться в сцене когда Сомерсет ехал на поезде в город. Однако затем от этого эпизода отказались и им пришлось искать другое место. Дизайнер Кайл Купер, посмотревший черновую версию фильма, решил что титры следует использовать чтобы как-то представить зрителям злодея. Кроме того, съемочная группа потратила массу времени, чтобы создать реквизит для квартиры Джона Доу (включая шесть его дневников) – и он хотел, чтобы все это тоже было представлено в титрах.
Получив одобрение идеи от Финчера (он кстати изначально хотел, чтобы титрами занимался другой дизайнер) Купер приступил к работе. Художник Уэйн Коу по его поручению создал вот эти раскадровки для титров.
Сами надписи для титров было решено делать вручную, чтобы они воспринимались так, словно они пропущенны через разум убийцы – как будто Джон Доу сам делал их. К тому моменту цифровая обработка уже обрела широкое применение в Голливуде, однако Купер решил снимать и монтировать все традиционными способами, без какого-либо использования компьютеров. В итоге у него получились титры, которые считаются одними из лучших в истории кино.
Выход фильма и его наследие
«Семь» вышел в прокат 22 сентября 1995 года. Фильм оправдал все возложенные на него ожидания студии, став большим хитом. Картина собрала 327 миллионов долларов и заняла седьмое место в списке самых кассовых лент 1995 года. Каждый в итоге получил от «Семи» то что хотел. Студия подтвердила серьезность своих намерений по переходу высшую лигу. Брэд Питт заработал 7 миллионов долларов и укрепил свой статус молодой звезды. Дэвид Финчер смог реализовать себя и получил вдохновения для продолжения карьеры. Кевин Спейси в один год сыграл двух злодеев, считающихся ныне классическими. Интересный факт: в момент премьеры «Семи» «Обычные подозреваемые» tще шли в прокате – так что зрители имели уникальную возможность впервые посмотреть оба этих триллера в один день.
Как бы безумно это не прозвучало, но в какой-то момент кому-то пришла голову прекрасная идея подзаработать на огромном успехе фильма и снять сиквел «Семи». Для этого студия купила сценарий под названием Solace повествующий об отставном психиатре обладающим даром ясновидения, который помогает агенту ФБР найти серийного убийцу. План был прост – аменить название на Ei8ht и переписать сценарий таким образом, чтобы главным героем с паранормальными способностями стал Сомерсет. Честно, я не знаю, успели ли переписать сценарий, или же нет — мне попадались скрипты Solace, но без Сомерсета. Если версия сценарий Ei8ht все же где-то существует, то она вероятно стала бы жемчужиной моих обзоров.
В любом случае, абсурдность этой идеи похожа была чрезмерна даже для Голливуда, ибо от нее вскоре отказались. Что касается Финчера, то он с присущим ему жизнелюбием прокомментировал эти планы, сказав что: «Эта идея вызывает у меня меньший интерес, чем идея затушить сигареты о свои глаза».
Фильм Solace кстати вроде как выходит в этом году, главную роль в нем сыграл Энтони Хопкинс. Надеюсь на выходе не окажется, что его переделали в сиквел «Ганнибала»
С идиотским сиквелом или без него, но «Семь» продолжает оставаться одним из самых знаковых фильмов своего времени. Мрачная, гнетущая история, без каких-либо намеков на счастливый исход просто поразительно диссонирует с абсолютным большинством мэйнстримных фильмов нашего времени. Так что как это не банально, но чем больше времени проходит с момента выпуска картины, тем больше я ценю ее.
Отсюда
«Семь» (англ. Seven, или стилизованные от него SE7EN или Se7en) — американский триллер в стиле неонуар, снятый Дэвидом Финчером по сценарию Эндрю Кевина Уокера. Лента рассказывает о расследовании двумя детективами-напарниками серии убийств, которые связаны с семью смертными грехами. В главных ролях: Брэд Питт, Морган Фримен, Гвинет Пэлтроу и Кевин Спейси.
Несмотря на пессимизм продюсеров, которые считали, что сценарий слишком мрачен, и всячески пытались переделать концовку, фильм вышел в прокат практически без изменений 22 сентября 1995 года и получил признание как зрителей (327,3 миллиона долларов в мировом прокате), так и рецензентов (на специализированных сайтах фильм имеет высокий рейтинг и по состоянию на июнь 2020 года находится на 20 месте в списке 250 самых рейтинговых фильмов IMDb). Кинокритики отмечали режиссёрскую и операторскую работу, игру актёров, музыку к фильму. Фильм «Семь» и члены съёмочной группы были также удостоены ряда престижных кинопремий. По мотивам фильма создана серия комиксов с тем же названием. Некоторые киноведы прослеживают в фильме все тенденции, знаменующие переход от нуара к неонуару в кинематографе.
Сюжет
Основной сюжет
Полицейские детективы Уильям Сомерсет и Дэвид Миллз расследуют дело о серийном убийце Джоне Доу, возомнившем себя орудием Господа. В своей одержимости последовательно карать за семь смертных грехов он подвергает жертвы смертельным физическим и моральным страданиям, которые готовит с холодной расчётливостью. Каждая кара тщательно спланирована, а каждая жертва (в понимании Доу) — эталон того греха, за который следует наказание. Изощрённый мучитель и убийца оставляет на месте преступления лишь название греха и хитроумную зацепку-головоломку, позволяющую найти следующего «грешника».
Джон Доу считает свою деятельность проповедью, призванной преподать горожанам урок. Он тщательно документирует все свои действия, годами готовит головоломные убийства и пытки, скрупулёзно заметает следы (даже срезает себе кожу с подушечек пальцев, чтобы не оставлять отпечатков). До самого конца картины всё происходит словно по его сценарию: он всегда на несколько шагов впереди своих преследователей, и даже сама деятельность детективов выступает как часть его безумного, но чрезвычайно расчётливого плана. Драматический эффект происходящего усиливается и тем, что история разворачивается в течение семи дней, которые должны стать последними на службе для уходящего в отставку дотошного и сердобольного холостяка Сомерсета и первыми на новом месте для сменяющего его амбициозного и эмоционального Миллза, любящей жене которого, Трейси, приходится мириться с жизнью в ненавидимом ею городе.
Первой обнаруженной жертвой становится громадный толстяк, олицетворяющий грех чревоугодия, второй — знаменитый адвокат, которому в вину вменяется алчность. Несмотря на то, что уже после третьего эпизода — праздности — следствию, не без доли везения и в обход закона, удаётся раскрыть логово маньяка, это, по его собственному признанию, лишь несколько ускоряет «миссию»: одно за другим следуют новые кровавые преступления, карающие, по задумке Доу, за похоть и за гордыню.
Внезапно убийца хладнокровно сдаётся полиции, но, озвучив угрозу объявить себя невменяемым, вынуждает правосудие пойти с ним на сделку: признание в содеянном и указание места захоронения последних двух жертв в обмен на поездку туда наедине с обоими детективами. Под охраной с воздуха трое доезжают до пустынного просёлка, куда вскоре неожиданный курьер привозит какую-то посылку. Пока Сомерсет в отдалении вскрывает её и замирает в ужасе, безоружный и скованный по рукам и ногам Джон Доу вдруг доверительно признаётся стерегущему его Миллзу, что восхищён им и его женой, и что поскольку ему не удалось «сыграть роль мужа» с ней, он забрал себе «сувенир» — её голову.
Шокированный Миллз слышит признание маньяка в собственном грехе — зависти к нормальной семейной жизни. Случившееся приводит к явно просчитанному Доу финалу: молодой детектив, ещё и узнавший о беременности убитой Трейси, не поддаётся на увещевания тоже потрясённого, но почти сохраняющего самообладание ветерана и всё же расстреливает в упор спокойного, готового к смерти преступника, не будучи в силах обуздать свой гнев — грех, завершающий чудовищный план.
Варианты концовки, неснятые и вырезанные сцены
Художественный замысел режиссёра состоял в том, чтобы фильм заканчивался выстрелом Миллза в Доу. Однако такой финал провалился на тестовых просмотрах, и Финчер согласился доснять последнюю сцену, где Миллза увозят в полицейской машине, а Сомерсет цитирует Хэмингуэя:
Обсуждался и целый ряд альтернативных вариантов:
- Продюсеры не хотели, чтобы фильм имел такой пессимистичный конец, и, по их замыслу, в конце фильма Миллз и Сомерсет могли бы спасти жизнь Трейси. Концовка, в таком случае, стала бы традиционной и динамичной (главные герои неслись бы на машине через город), однако и режиссёру, и актёрам такой вариант не понравился.
- В ещё одном варианте развязки Миллз и Доу погибали во время пожара в церкви. Трейси выживает и воспитывает ребёнка Миллза.
- Продюсеры предлагали изменить сценарий таким образом, чтобы в финальной сцене Доу был убит выстрелом Сомерсета, а не Миллза (таким образом, план убийцы не был бы реализован). Фримен поддерживал такую идею, но Питт был категорически против.
- Ещё одним альтернативным финалом могла быть сцена, в которой Доу убивает Миллза, а затем погибает от выстрелов Сомерсета.
- Обсуждался также финал, в котором Сомерсет находится на больничной койке после того, как в него выстрелил Миллз. Причины, которые бы объясняли такой поступок Миллза, озвучены не были.
Кроме того, в фильм не были включены или были сокращены ряд сцен.
- Первоначально фильм должен был начинаться со сцены, в которой Сомерсет покупает дом за городом и вырезает из стены кусок обоев, однако её в финальную редакцию не включили.
- Была удалена сцена, в которой бездомный (в исполнении Уокера) просит Сомерсета, направляющегося в библиотеку, дать ему немного денег.
- Были сокращены сцены с поездкой от дома жертвы обжорства до полицейского участка, с диалогом в машине по дороге до квартиры жертвы праздности, с ужином у Миллзов, с пробуждением Трейси в квартире и сцена в квартире жертвы гордыни. Из сцены с ужином у Миллзов были удалены фрагменты, когда из пальто Сомерсета выпадает вырезанный клочок обоев, поскольку сцена с покупкой дома, которая объясняла бы, откуда у Сомерсета этот клочок, была вырезана ранее.
Уокер хотел немного больше раскрыть некоторые мотивы героев, рассказать об их жизни, что он и постарался сделать, когда писал и переписывал сценарий. Так, в нём имеются сцены с Трейси, которая пытается устроиться на работу в школу, направляется на фруктовый базар, где знакомится с Миллзом, возвращается с ним домой. Миллз, в свою очередь, должен был появиться в сцене, где задерживает двух грабителей машин; этот эпизод в сценарии раньше знакомства Миллза с Сомерсетом. Указанием на беременность Трейси должна была стать сцена, в которой она читает книги для будущих мам. В начальных вариантах сценария Сомерсет не был таким проницательным: догадка о семи смертных грехах посетила не его, а его друга, художника Маккракена, а в библиотеку ходил Миллз. Также раскрывались причины, по которым Доу стал убийцей: он рос сиротой, и с ним жестоко обращался надзиратель приюта — отец Стоун. Собственно, после разговора со Стоуном детективы и должны были выйти на Доу — в итоге в этом им помог агент ФБР.
В ролях
История создания
Сценарий
Сценарий к фильму написал Эндрю Кевин Уокер, и, по его словам, он стал «циничным любовным письмом Нью-Йорку». Именно пребывание и работа в этом городе с 1986 по 1991 год вдохновили Уокера на написание сценария.
Уокер провёл большую часть детства в небольшом городе Меканиксбург в штате Пенсильвания. Окончив Пенсильванский университет, он направился в Нью-Йорк, где начал работать ассистентом продюсера в малобюджетной кинокомпании «Brisun Entertainment», которая специализировалась на фильмах в жанре слэшер. Именно тогда у него впервые возникла идея об убийце, чьи преступления были бы связаны с семью смертными грехами. Мысли о семи грехах навевал и сам город. Жизнь в нём, по сравнению с Меканиксбургом, была настоящей «атакой на чувства» Уокера. Смертные грехи, по его словам, можно было встретить на улице, в метро и среди людей. Постоянно случались автокатастрофы с летальным исходом, кто-то кого-то «ставил на нож», в расцвете была мода на курение крэка.
Перед тем, как приступить к написанию сценария, Уокер покинул «Brisun Entertainment» и устроился сценаристом в «Tower Records» с целью получить нормированную рабочую неделю. В этой компании он проработал три года, и именно там его идея материализовалась в сценарий. Написание сценария заняло примерно пять месяцев. Для того, чтобы воплотить задуманное, Уокеру пришлось провести ряд исследований. Он изучал полицейскую литературу и понял, что в реальной жизни копы редко пользуются оружием, а на место преступления чаще прибывают, когда преступление уже совершено. Также он довольно мало знал о самой концепции семи грехов: он знал, что таковые есть, но не мог даже их всех назвать.
Когда сценарий был написан, Уокер понял, что эта история слишком хороша для «Tower Records». Он попросил Дэвида Кеппа (молодого сценариста, уже познавшего успех, — он написал сценарий к фильму «Дурное влияние») оценить его работу. Тот, в свою очередь, порекомендовал Уокера своему агенту. Сценарий фильма был отправлен многим кинокомпаниям, однако почти все они отказались участвовать в проекте. Только режиссёр Джеремая Чечлик обратил внимание на творение Уокера и захотел снять по нему фильм. С его подачи сценарий выкупила итальянская кинокомпания «Penta Films», но её постигли финансовые проблемы, и в итоге сценарий попал к «New Line Cinema».
Споры вокруг сценария
Хотя кинокомпания «New Line Cinema» выкупила права на сценарий, снимать фильм она не спешила. Продюсеров беспокоила финансовая сторона вопроса. Кроме того, проект показался им сложным для начинающих актёров, а привлечение мастеров требовало больших денег. Вложения инвесторов должны были окупиться, и продюсеры сочли фильм слишком зловещим и «тёмным», чтобы он мог стать успешным в прокате. Сценарий нужно было корректировать, и Уокеру пришлось заняться этим — в случае его отказа компания наняла бы другого сценариста, ведь права на фильм уже принадлежали ей, а Эндрю больше всего не хотел, чтобы над фильмом работал кто-то другой.
Первоначально фильм должен был снимать Чечлик, однако он отказался от участия в проекте, и откорректированные варианты сценария были разосланы многим другим потенциальным кандидатам на режиссёрское кресло. Среди адресатов был Дэвид Кроненберг, однако и он отказался. Отказом ответил и Гильермо дель Торо. К одному из кандидатов — Дэвиду Финчеру — случайно попал первый вариант сценария. Прочитав начало, Финчер хотел было отклонить предложение, у него сложилось впечатление, что это очередное кино про двух полицейских-напарников, но его агент убедил его дочитать сценарий до конца. Закончив чтение, Финчер был поражён и поинтересовался у агента, действительно ли компания будет снимать такой фильм, несмотря на финал с головой в коробке. Агент ответил, что произошла ошибка, и Дэвид получил не тот вариант сценария. Однако Финчер решил убедить продюсеров, что именно первый вариант является единственно стоящим. Он убеждал, что даже через десятки лет актёров фильма могут не вспомнить, но концовку с головой в коробке запомнят навсегда. Один из продюсеров «New Line Cinema» — Майкл Де Лука — был на стороне режиссёра, однако решающее слово принадлежало Арнольду Копельсону. Только совместными усилиями Финчер и актёры (Питт и Фримен) смогли переубедить продюсера.
Подбор актёров
На этапе кастинга режиссёр и продюсеры столкнулись с трудностями: многие агенты отказывались отправлять сценарий своим клиентам, а актёры, в свою очередь, отказывались от ролей из-за мрачного сценария.
Среди кандидатов на роль Сомерсета был Аль Пачино. Однако он отказался от участия в съёмках в пользу другого проекта (фильма «Мэрия»). Что касается Моргана Фримена, то продюсеры не надеялись привлечь его к съёмкам, будучи уверенными, что и для него сценарий окажется слишком «тёмным». Однако Копельсон всё же лично отправил сценарий фильма актёру, и тот неожиданно согласился.
Дензел Вашингтон и Аль Пачино могли сыграть Дэвида Миллза и Уильяма Сомерсета
В роли Миллза создатели фильма сначала видели Дензела Вашингтона. Именно под него концовку сценария изменили на более динамичную. Однако и Вашингтон отказался от съёмок. Ещё одним кандидатом был Сильвестер Сталлоне. В конце концов, на роль молодого детектива утвердили Брэда Питта. Он согласился участвовать в съёмках лишь при некоторых условиях: в финальной сцене ему не показывают голову героини Гвинет Пэлтроу, и для съёмок используется оригинальный сценарий Уокера.
Среди кандидатов на роль Трейси были Кристина Эпплгейт и Робин Райт Пенн. Выбор Гвинет Пэлтроу стал повторением истории с Морганом Фрименом. И у продюсеров, и у Финчера были серьёзные сомнения относительно перспектив получения её согласия, при том, что они единодушно считали её лучшей кандидатурой на эту роль. Пикантности добавляло и то обстоятельство, что Брэд Питт с Гвинет Пэлтроу были тогда парой в реальной жизни. Тем не менее, именно участие Питта стало одним из факторов, убедивших Пэлтроу принять предложение.
На роль Джона Доу пробовались Майкл Стайп и Рональд Ли Эрмей, который в итоге получил важную, хоть и безымянную, роль капитана полиции. Также среди кандидатов числился Нед Битти, собственно, он был первой кандидатурой Финчера. В конце концов, роль Доу досталась Кевину Спейси. По его словам, его утвердили в последний момент, позвонив ему в пятницу, а уже в понедельник он летел в Лос-Анджелес, поскольку съёмки начинались во вторник. По словам Спейси, он, хоть и наслаждался работой, однако, не чувствовал себя органической частью съёмочного процесса. Воспоминания Спейси противоречат[уточнить] интервью Финчера и Питта. Оба они заявили, что более всего пытались заполучить именно его, хотя это оказалось непросто в финансовом плане. Только настойчивость Питта заставила Копельсона увеличить финансирование проекта ради привлечения Спейси.
Съёмки и постпроизводство
После всех обсуждений в рождественский период 1994 года начались съёмки основной части фильма. Все локации были размещены в Лос-Анджелесе или вблизи него, хотя Финчер подумывал о съёмках в Окленде. Дождь, позже воспринятый как художественный приём Финчера, на самом деле таковым не являлся. Дело в том, что Брэд Питт мог участвовать в проекте только на протяжении 55 дней, а затем должен был отправиться на съёмки другого фильма, «12 обезьян», и Финчеру не приходилось выбирать пасмурные или ясные съёмочные дни.
Во время съёмок случилось происшествие, повлиявшее на сценарий: во время съёмок сцены преследования Джона Доу Питт сломал себе руку. Поскольку эпизоды снимались не в том порядке, в котором они следуют на экране, в некоторых моментах Питт держит травмированную руку в кармане. Для съёмок фильма Кевин Спейси побрил себе голову. Финчер через некоторое время тоже обрился, поскольку дал слово сделать это вслед за Спейси.
Съёмки велись как на площадках в студии, так и в городе. Над каждой локацией велась детальная работа, с целью создания ощущения клаустрофобии, запущенности и грязи. Так, стены в доме жертвы обжорства были несколько раз закрашены разными цветами, затем на них нанесли слой жира и запустили тараканов. Другой непростой проблемой было найти в Лос-Анджелесе здания, максимально похожие на нью-йоркские. Например, библиотека была сдекорирована в здании заброшенного банка, поскольку все библиотеки Лос-Анджелеса оказались слишком современными по сравнению с описанной в сценарии. В качестве штаб-квартиры полиции использовали дом, который некогда служил для нужд компании Pacific Electric. Квартира Джона Доу была обустроена в гостинице Alexandria Hotel. Кульминационная сцена была снята на севере от Лос-Анджелеса, в пустыне Мохаве близ Ланкастера, а вырезанная сцена с Фрименом и покупкой им дома — в Чино. Сцену с участием Питта пришлось доснимать через несколько месяцев. Поскольку Спейси и Фримен к тому времени отсутствовали, их заменили дублёрами. Не было уже и вертолёта, и один из планов снимался со специального макета.
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Отель Alexandria Hotel (квартира Джона Доу)
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Pacific Electric Building(штаб-квартира полиции)
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Отель Ambassador Hotel (место встречи со вдовою жертвы алчности)
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Место съёмки кульминационной сцены
Первоначально планировалось завершить фильм чёрным экраном сразу после выстрела Миллза, и такой вариант был показан во время тестовых просмотров. По замыслу Финчера, темнота должна была бы продлиться несколько секунд, а зрители в этот момент могли бы как-то осмыслить увиденное. Для создания необходимой атмосферы работников, которые опрашивают зрителей после просмотра, попросили не подходить сразу, а технических работников — не включать свет. Однако эта просьба выполнена не была, что, в свою очередь, повлияло на реакцию зрителей: концовка провалилась, а одна зрительница даже сказала, что «тех, кто это снял, надо убить». Именно поэтому в конце была добавлена сцена, в которой Сомерсет цитирует Хемингуэя.
Все плакаты и трейлеры были опубликованы без упоминаний Кевина Спейси. Это было сделано по согласованию с ним, чтобы зрителям было труднее идентифицировать убийцу. Имя Спейси также отсутствует во вступительных титрах, однако появляется первым в заключительных.
Характеристика звука и изображения
Изображение
Фоны и декорации
Фильм знаменит нарисованной в нём беспросветной картиной неназванного нуарового города. Создатели фильма ставили перед собой задачу показать город «замусоренный, грязный, опасный, подчас депрессивный». Многие интерьеры представляют собой обшарпанные комнаты с отклеивающимися обоями и тускло мерцающими жёлтыми абажурами. По словам художника-постановщика Артура Маркса, «мы создали задник, отражающий нравственное разложение тех людей, которые здесь обитают». Почти все сцены плохо освещены. Цветовая гамма тёмная и олигохромная, её составляют немногие близкие друг другу тона — белый, кремовый, серый, грифельный, охристый, бежевый, коричневый, чёрный и грязно-кислотная зелень.
Оператором фильма был Дариус Хонджи. Он использовал 35 мм камеру «Aaton», 27 мм линзы «Primo» и плёнку фирмы «Kodak» (Kodak 200T 5293 для большинства сцен и Kodak 320T 5287 для более ярких сцен). Его основной задачей было обеспечить изображение, которое бы передавало ощущение заброшенности, морального упадка и клаустрофобии. Тьма стала первым необходимым элементом фильма, поэтому количество света было ограничено. В большинстве сцен свет расположен или перед актёрами, или позади них. Исключения — некоторые сцены в полицейском участке, сцена в баре и сцены с естественным освещением. Критик Дж. Розенбаум пишет, что «даже светлое время суток ощущается как беспросветная ночь», причём полицейские исследуют места преступления в потёмках, с фонариками в руках, как если бы здания не были оснащены электричеством.
Чтобы обеспечить необходимое ощущение клаустрофобии Хонджи снимал экстерьеры при диафрагме 1/2,8-1/1,4, а интерьеры — при диафрагме 1/2,8. Специфической картинкой фильм обязан применением специальной технологии — ретенции серебра, или bleach bypass, при которой этап отбеливания киноплёнки пропускается. Как следствие, чёрный цвет получается насыщенным, в отличие от остальных цветов.
Хонджи также использовал разные приёмы с расположением камер. Например, в сценах, снятых в салонах автомобилей, камеры располагаются на задних сиденьях и направлены немного снизу вверх и под углом — это было навеяно документальным сериалом «Копы». Сцену погони оператор снимал как с тележки, так и небольшими ручными камерами. Тележка давала плавное изображение, в то время как ручные камеры — дрожащее. Позже эти кадры объединили.
Монтажом занимался Ричард Фрэнсис-Брюс. По его словам, он придерживался пожеланий Финчера: в фильме не должно было быть плавных переходов, фильм должен быть резким, но эта резкость должна быть достаточно эстетичной.
Титры
Уже в первых минутах фильма задаётся мотив сходства полицейских и преступников. Дрожащие, затёртые титры, над которыми работал Кайл Купер, напомнили Дж. Розенбауму экспериментальные фильмы Стэна Брэкиджа; критик назвал их одним из самых оригинальных решений в голливудском кино последнего времени: они решены как своего рода флешфорвард — то ли нарезка из жизни не представленного пока зрителю маньяка, готовящего очередное преступление, то ли кадры деятельности полицейских криминалистов, идущих по его следу. За кадром звучит ремикс на песню «Closer» из репертуара рок-группы Nine Inch Nails.
По словам Купера, Финчер попросил создать мрачные тёмные титры, которые бы привлекали внимание зрителя, а также однозначно характеризовали фильм. Сначала Купер создал последовательность слайдов со страницами дневников Джона Доу. Результат удовлетворил продюсера, но не режиссёра, — Финчер попросил титры переделать. Тогда Купер расширил первоначальный вариант, добавив множество других деталей. В основе остались нарезки с дневниками Джона Доу, детально проработанными Клайвом Пирси и Джоном Сейблом: каждая страница была написана вручную, кое-где текст сменяется жуткими и будоражащими фотографиями (сцены убийства, вскрытия тел, эротика) и другими предметами. Помимо всего этого, показаны пальцы Джона Доу с забинтованными кончиками, процесс написания и сшивания им дневников. Таким образом, вступительные титры вводят зрителя в мир убийцы, знакомят с его натурой и мышлением. Кадры титров резко сменяются, некоторые надписи напоминают царапины. Кроме того, чтобы лучше раскрыть сущность убийцы, Купер ввёл несколько символов. Например, встречаются кадры, в которых Доу вырезает слово «Бог» из долларовой банкноты (связь с семью смертными грехами как частью христианского мировоззрения), изображён чайный пакетик, который Доу погружает в воду (Купера поразили кадры, когда арестованный Доу спокойно пьёт чай), маркер, закрашивающий некоторые слова, не нравящиеся Доу (Купер таким образом хотел показать, что Доу ненавидит людей и зачёркивает то, что, по его мнению, им не положено иметь).
Режиссёр называет целью такого решения титров дать почувствовать зрителю присутствие архизлодея (который по сценарию материализуется на экране ближе к 90-й минуте). «Нам надо было дать представление о том, против чего борются эти парни», — говорит Финчер. Он дал указание эксперту по спецэффектам не только показать в титрах замысловатые записные книжки Джона Доу (на создание которых ушли тысячи долларов), но и через них дать почувствовать, что «где-то на другом конце города кто-то готовит нечто реально мерзкое».
Необычны и заключительные титры, которые идут не традиционно, снизу вверх, а в обратном направлении, сверху вниз, под песню Дэвида Боуи «The Hearts Filthy Lesson».
Звук и саундтрек
Звук в фильме
Над звуком работал Рен Клайс. Для фильма он использовал низкочастотные урбанистические мотивы: звуки сирен, автомобилей, шум на улицах, голоса с телевизионных экранов. Таким образом создаётся эффект негативного влияния города на приватность человека. Особенно это ярко выражено в сцене, где квартира Миллзов трясётся от проезжающих рядом вагонов метро. Эти звуки города Клайс использовал как фон для наложения более отчётливых звуков, которые служили бы ориентиром для зрителя. Примером такого ориентира может служить метроном в квартире Сомерсета, стук которого выделяется на фоне городского шума.
Саундтрек
Музыкальное оформление фильма было поручено канадскому композитору Говарду Шору, и большинство сцен фильма «подзвучены» его музыкой. Кроме того, в фильме использованы произведения и записи порядка десяти различных авторов: музыка И. С. Баха, лучшие образцы классического джаза, а также «актуальная» музыка в стилях new wave и industrial.
В 1995 году саундтрек фильма был издан на CD продолжительностью звучания менее 60 минут — в его состав вошли далеко не все композиции, прозвучавшие в фильме.
В фильме во время вступительных титров звучит песня «Closer» группы Nine Inch Nails, а во время заключительных — «The Hearts Filthy Lesson» Дэвида Боуи.
Анализ фильма
Стиль и жанр
Кинокритики относят «Семь» к триллерам. Фильм содержит в себе также характерные элементы полицейской драмы: расследование убийства двумя полицейскими-напарниками и распутывание дела доказательство за доказательством. Однако такой история предстаёт лишь в завязке. По мере развития сюжета становится ясно, что авторы акцентируют внимание зрителя не на полицейских и их расследовании (что характерно для полицейской драмы), а на убийствах, плане и идеях убийцы. К тому же, в отличие от типичной полицейской драмы, где полиция изображается, как правило, некоррумпированной и честной организацией, в «Семь» полиция предстаёт нечестной и готовой на всё, чтобы достичь своих целей (примером служит незаконное получение данных от агента ФБР или выламывание двери в квартиру Доу без ордера на обыск). Иногда фильм относят к жанру ужасов. Сам Финчер сообщил, что неоднократно спорил с людьми, заявлявшими, что «Torture Porn» (термин, употребительный по отношению к фильмам ужасов, в которых жертв изощрённо мучают и жестоко убивают (например, серия фильмов «Пила»)) начался именно с «Семь», хотя режиссёр настаивал на том, что ни одной сцены издевательств над жертвами в его фильме продемонстрировано не было.
Стилистически фильм относят к нео-нуару: он содержит все основные элементы, характерные для классических нуарных фильмов и в то же время отражает все изменения, которые претерпел стиль со времени становления (послевоенный период) и до 90-х годов XX века (именно тенденции 90-х в культуре и обществе сильно повлияли на проблематику картины). Как и в классических нуарных фильмах, в «Семь» царит отчаяние, апатия, насилие и упадок общества, отсутствует хеппи-энд, судьбы выживших главных героев необратимо искалечены. Сомерсет выступает в роли измученного человека, живущего изолированно от остальных и мечтающего покинуть город, пришедший в упадок. Он олицетворяет прошлое и опыт, в то время как его напарник Миллз — будущее и надежду; в конце фильма будущее и надежда (Миллз) уничтожены, что также характерно для нуара. Сюжет повествует о деяниях преступника больше, чем о действиях полиции. Фильм начинается знакомством зрителя с планом убийцы (вступительные титры) и заканчивается его реализацией (финальная сцена), таким образом, история образует замкнутый круг. Сам Сомерсет признаёт неэффективность работы полиции и проговаривает, что новые подсказки могут вести лишь к следующим подсказкам.
Цветовая гамма также позволяет отнести картину к нео-нуару: в отличие от классических чёрно-белых нуарных лент, нео-нуар оперирует стилизованным цветом. Следующим элементом, указывающим на принадлежность фильма «Семь» к нео-нуару, можно назвать детальное изображение места преступления, изувеченных жертв, а также демонстрацию фотографий с мест преступлений. Примечательно также, что в фильме звучит параноидальная мысль относительно тотальной слежки ФБР за читателями библиотеки. Это не случайность: такие опасения, действительно, получили распространения в американском обществе в 1980-х годах и были отражены в картине. Серийный убийца является очередным элементом нео-нуара и также данью моде на таких персонажей, которая появилась в 80-х годах и активно высвечивалась в СМИ. Наконец, ещё один важный элемент, которым авторы отдают дань времени, — апокалиптические настроения и неуверенность в будущем. Сценарий и фильм были созданы на пике страхов перед наступлением нового тысячелетия, когда различные религиозные группы предсказывали конец света. Число «7» постоянно встречается в картине (название фильма, семь смертных грехов, количество дней до ухода на пенсию Сомерсета, время ужина у Миллзов, время доставки ужасающей посылки в пустыню) и создаёт мифическую почву для апокалиптических настроений: на протяжении семи дней убийца, который возомнил себя слугой Бога, совершает семь преступлений, что приводит к уничтожению одной семьи. Это можно сравнить с семью днями и семью карами, которые ведут к уничтожению мира в Апокалипсисе.
Персонажи и их взаимодействие
Персонажи в «Семь» имеют тесные взаимоотношения и связи.
Изначально взаимодействие двух детективов построено на их противопоставлении. Первым отличием является их раса: Сомерсет — афроамериканец, а Миллз — европеоид. Мода на такие тандемы была продиктована такими фильмами, как «Смертельное оружие» и «Полицейский из Беверли-Хиллз». Сомерсет значительно старше Миллза. Он — опытный интеллектуал, разочарованный и циничный во взглядах на общество и город, в котором живёт, хорошо контролирующий свои эмоции. Миллз — молодой, амбициозный, энергичный, уступает в начитанности Сомерсету, агрессивный и немного наивный в своих взглядах на жизнь в городе. Сначала Сомерсет занимает позицию наставника и предупреждает Миллза о том, что тот пожалеет о своем переезде в город. Его раздражает поведение младшего коллеги на месте преступления, он отговаривает его от расследования. В свою очередь, это раздражает Дэвида. До некоторой степени их отношения являются аллюзией на отношения Вергилия и Данте из «Божественной комедии», которая упомянута в фильме. Вергилий — голос разума и мудрый проводник, Данте — полон эмоций. Примером тому может быть эпизод, когда Сомерсет составляет список книг, которые должен прочитать Миллз, выбрав только необходимые, и раздражение Миллза навязываемым ему чтением. Та же сцена в библиотеке показывает различие подходов к расследованию: если Сомерсет обращает внимания на духовное и нематериальное и потому пытается понять ход мыслей убийцы, то Миллз между тем у себя дома просматривает фотографии сцен убийств, пытаясь найти материальные подсказки. Отношения двух детективов имеют определённый оттенок отцовства-сыновства, проявляющийся наставлениями от Уильяма: собирающийся на пенсию Сомерсет, очевидно, видит в Миллзе своего преемника. Однако по ходу действия оба детектива всё больше привязываются друг к другу: только их совместная работа приносит какие-то плоды (как, например, в сцене на квартире у Миллза), постепенно они начинают соглашаться друг с другом («Это ещё не конец» — «Впервые я полностью согласен с тобой»), а в конце фильма даже вместе шутят. Акт самоуничтожения Миллза, поддавшегося на провокацию Доу, сказывается и на Сомерсете — по мнению Браунинга, тот передумает уходить на пенсию.
Ещё один центральный персонаж — Джон Доу. На самом деле, он очень похож на Сомерсета. Во-первых, как и Сомерсет, он осознаёт греховность места, в котором обитает, но в отличие от пассивно наблюдающего детектива, Доу занимает активную позицию: своими действиями он пытается повлиять на ситуацию, пытается показать миру его упадок. Как и Сомерсет, Доу начитанный и уравновешенный. Он также очень терпелив, что подтверждается сроком, во время которого он мучил свою третью жертву (один год). Связь между Доу и Сомерсетом проявляется и в том, что последний не просто пытается найти убийцу, — Сомерсет изначально понимает, что предстоит целая серия убийств, и ему интересен мотив преступника. Сомерсет пытается мыслить как убийца, что побуждает его наведаться в библиотеку и прочесть книги, которые, по его мнению, помогут понять убийцу. Ещё одна их общая черта — любовь к записям своих мыслей. Так, в квартире Доу находят множество исписанных дневников; а в удалённой сцене Сомерсет вырезает кусок обоев из дома как память о своей мечте.
Персонаж Гвинет Пэлтроу — Трейси — олицетворение нежности и гуманности. Она любит своего мужа и следует за ним в место, которое её пугает. В последнем она признаётся Сомерсету и соглашается с его взглядами на город. Именно она налаживает отношения двух мужчин. Её роль в повествовании — в объединении двух детективов, в привнесении в их отношения эмоциональности: по её инициативе они впервые неформально общаются и называют друг другу свои имена, именно после ужина у Миллзов они впервые совершают прорыв в расследовании. Её гибель означает для Миллза потерю семейного очага и символизирует хрупкость семьи в мире, в котором они живут.
Интертекстуальность
Кроме христианского понятия семи смертных грехов «Семь» связан с другими литературными произведениями. Так, в фильме большую роль играет «Божественная комедия». Помимо того, что взаимоотношения Миллза и Сомерсета являют собой аллюзию на отношения Данте и Вергилия, убийства Доу перекликаются с карами за грехи в Аду, изображёнными Алигьери. В дантовом Аду грешники вынуждены переживать свои грехи вечно, то есть наказаны в стиле contrapasso — наказание подобным или контрастирующим с самим грехом. Так же и Доу в ряде случаев наказывает своих жертв (закармливает до смерти обжору, обездвиживает до полусмерти тунеядца). Иллюстрации произведения появляются в сцене в библиотеке. Цитирование поэмы Мильтона «Потерянный рай» указывает на пуританскую сущность Доу. По мнению Браунинга, функция Трейси, ставшей «мостиком» между двумя мужчинами, напоминает подобную роль Кэтрин Лейк из романа современного автора детективов Джеймса Эллроя «Чёрная орхидея».
Своё имя Сомерсет получил в честь любимого писателя Уокера — Уильяма Сомерсета Моэма.
Особенности повествования
Структура повествования в фильме «Семь» имеет ряд особенностей. Прежде всего, Уокер хотел, чтобы последней жертвой фильма стал полицейский. Таким образом, структура фильма закольцовывается: полицейский, расследующий убийства, основанные на семи смертных грехах, сам падает жертвой греха и убивает — конец истории просматривается уже в её начале. Вторая отличительная черта повествования — фильм выстроен как исполнение плана Доу, а не как расследование череды убийств с целью разгадки, что характерно для детективов и триллеров. Кроме расстрела Доу Миллзом в финальной сцене, все остальные убийства непосредственно не показаны, зритель видит только результат (жертва, которую подвергли пыткам) или способ (изнасилование ножом, отрезание плоти). Раскрывается также время, которое убийца использовал для совершения того или иного убийства (жертву лени он мучил целый год, адвоката — уик-энд и понедельник). Кажущийся прорыв в расследовании (в доме адвоката найдены отпечатки пальцев) на самом деле — тоже часть замысла Доу, а главный подозреваемый — Виктор — оказывается третьей жертвой — жертвой праздности. Кроме того, в фильме показано, как убийца под видом фотографа возвращается на место преступления. Этот эпизод, с одной стороны, раскрывает психологию убийцы (наслаждение созерцанием последствий своей работы), а с другой — служит развитию сюжета: Доу именно в этот момент убеждается, что Миллз — подходящая кандидатура на роль последней жертвы, жертвы гнева. Другой нетипичный для детективных историй сюжетный поворот — убийца добровольно сдаётся полиции примерно за полчаса до конца фильма. Этот ход дезориентирует зрителя и выводит интригу на новый уровень.
Проблематика и символизм
В центре сюжета фильма лежат идея семи смертных грехов и размышления о том, насколько глубоко они проникли в общество. Семь смертных грехов являются лишь основой, на которой могут произрастать преступления. Город, в котором разворачиваются события фильма, изображён перенасыщенным этими семью грехами: повсюду царят насилие, жестокость, равнодушие, грязь. Горожане толерантно относятся к такому положению вещей. Примечательно, что в фильме название города так и не прозвучало. Таким образом, этим городом может быть любой, возможно, даже родной для зрителя.
Джон Доу по-своему восстаёт против такого положения вещей и берёт на себя роль судьи и палача общества. В отличие от современного правосудия, которое не оценивает моральный облик человека, Доу в своих решениях, по мнению Валери Аллен, во многом ориентируется на судопроизводство средневековое, судившее как тело, так и душу, опираясь на христианские каноны. Убитые им люди являются воплощёнными символами. Для Доу это не отдельные индивидуумы, которых он убил ради самого акта убийства. Они воплощают черты, присущие всему обществу и каждому его члену, а также выступают как наглядные образцы смертных грехов. Браунинг считает, что грехи нельзя оценивать прямолинейно, ведь тогда преступления Доу не имели бы никакого смысла и лишь пополняли бы поток насилия. В фильме каждый грех имеет несколько более широкую трактовку, например, чревоугодие подаётся как широко распространённая вредная привычка. Сам Джон Доу также символичен. В англосаксонской юридической традиции имя «Джон Доу» используется для сохранения анонимности свидетеля в суде или для обозначения неопознанного мужского тела. Таким образом, Джон Доу может быть кем угодно (зритель о нём ничего не узнаёт). По мнению Аллен, Доу в своём мессианстве уподобляется Всякому человеку (Everyman) из английского средневекового моралите. Это созвучно с мнением Дайера о том, что Доу придерживается тех же взглядов, что и большинство нормальных людей (выступает против преступников, лжи, педофилии, наркотиков), ненормальны лишь его методы противодействия всему этому.
Прокат и кассовые сборы
Фильм «Семь» вышел в прокат 22 сентября 1995 года и находился в нём тринадцать недель: девять недель с начала проката (с 22 сентября по 19 ноября) и ещё четыре недели в 1996 году (с 12 января по 28 января и с 16 февраля по 19 февраля). При бюджете в 33 миллиона долларов, картина выручила в прокате 327,3 миллиона долларов: 100,1 миллиона в Северной Америке (США и Канада) и 227,2 миллиона — в остальном мире. В первую прокатную неделю ленту показывали в 2441 кинотеатре, и она заработала 13,9 миллиона долларов; всего в Северной Америке фильм показывали в 2528 кинотеатрах. В 1995 году картина стала седьмой по кассовым сборам в мире, девятой в североамериканском прокате, а также лидером по этому показателю среди фильмов с рейтингом «R» (североамериканский прокат).
Данные по странам
- Австралия — 2 ноября 1995 года — 8 666 146 $
- Австрия — 24 ноября 1995 года — 237 139 $
- Аргентина — 18 апреля 1996 года — 5 007 070 $
- Эстония Латвия Литва Прибалтика — 26 августа 1996 года — 87 941 $
- Бельгия — 31 января 1996 года — 5 392 677 $
- Боливия — 25 января 1996 года — 19 380 $
- Болгария — 22 марта 1996 года — 42 604 $
- Бразилия — 15 декабря 1995 года — 5 866 579 $
- Великобритания — 5 января 1996 года — 30 631 133 $
- Венесуэла — 28 февраля 1996 года — 241 415 $
- Гонконг — 30 ноября 1995 года — 3 351 257 $
- Греция — 9 февраля 1996 года — 978 824 $
- Дания — 8 марта 1996 года — 2 543 839 $
- Доминиканская Республика — 16 февраля 1996 года — 47 470 $
- Египет — 13 мая 1996 года — 79,861 $
- Израиль — 22 декабря 1995 года — 1 738 809 $
- Индия — 20 июня 1997 года — 97 544 $
- Индонезия — 10 апреля 1996 года — 552 604 $
- Исландия — 26 января 1996 года — 248 772 $
- Испания — 12 января 1996 года — 13 690 160 $
- Италия — 15 декабря 1995 года- 14 216 844 $
- Колумбия — 16 января 1996 года — 983 950 $
- Страны Центральной Америки и Больших Антильских островов — 12 января 1996 года — 273 154 $
- Страны Южной Африки — 24 ноября 1995 года — 1 368 913 $
- Ливан/ ОАЭ — ? — 203 097 $
- Малайзия — 25 апреля 1996 года — 252 775 $
- Мексика — 1 марта 1996 года — 2 619 472 $
- Нидерланды — 9 ноября 1995 года — 4 139 350 $
- Германия — 23 ноября 1995 года — 21 985 291 $
- Новая Зеландия — 10 ноября 1995 года — 1 201 916 $
- Норвегия — 26 января 1996 года — 2 151 703 $
- Республика Корея — 11 ноября 1995 года — 4 792 443 $
- Польша — 16 февраля 1996 года — 1 301 775 $
- Португалия — 2 февраля 1996 года — 1 421 358 $
- Пуэрто-Рико — 28 сентября 1995 года — 356 794 $
- Румыния — 31 января 1997 года — 30 691 $
- Сербия и Черногория — 3 мая 1996 года — 92 357 $
- Сингапур — 15 февраля 1996 года — 1 199 567 $
- Словения — 8 февраля 1996 года — 289 467 $
- Таиланд — 29 декабря 1995 года — 894 332 $
- Китайский Тайбэй — 10 ноября 1995 года — 2 035 910 $
- Турция — 18 февраля 1996 года — 1 098 124 $
- Венгрия — 7 ноября 1996 года — 490 439 $
- Россия/ Украина и другие страны СНГ — ? — 36 871 $
- Филиппины — 22 ноября 1995 года — 300 000 $
- Финляндия — 19 февраля 1996 года — 1 551 163 $
- Франция — 31 января 1996 года — 32 847 010 $
- Хорватия — 25 января 1996 года — 225 982 $
- Чехия/ Словакия — 28 марта 1996 года — 438 664 $
- Чили — 2 мая 1996 года — 760 553 $
- Швеция — 25 декабря 1995 года — 5 378 788 $
- Швейцария — 5 января 1996 года — 4 890 625 $
- Япония — 27 января 1996 года — 37 787 580 $
Критика
Рецензии
По большей части фильм был положительно принят как кинокритиками, так и зрителями. На сайте Rotten Tomatoes фильм имеет рейтинг 7,7 балла (из 10 возможных) от кинокритиков и 4,1 балла (из 5 возможных) среди зрителей. Сайт также сообщает, что 80 % кинокритиков (рейтинг среди топовых кинокритиков — 60 %) и 95 % зрителей фильм понравился, а сам фильм получил статус «спелый помидор». На сайте Metacritic фильм получил 60 баллов из 100 от кинокритиков и 8,8 из 10 от зрителей. Рейтинг на IMDb составляет 8,6 балла из 10 возможных, что позволяет фильму находиться очень высоко в рейтинге 250 самых рейтинговых фильмов IMDb.
Критики оценили атмосферу фильма, созданную локациями и съёмкой. Джонатан Розенбаум пишет, что авторы создали инфернальный город «Таксиста», «Бегущего по лезвию», фильмов-нуар, пражских сюрреалистов. Тодд Маккарти использует для описания эпитеты «тёмный, мрачный, ужасающий, провоцирующий клаустрофобию и отвращение». С последним соглашается Роджер Эберт. По его мнению, фильм, в отличие от большинства голливудских триллеров или хорроров, где сцены насилия и ужасов показаны для привлечения внимания зрителей, «Семь» снят так, чтобы вызвать чувство омерзения. Джеймс Берардинелли положительно оценил фильм, хотя, по его мнению, он слишком мрачный и длинный. Рита Кемпли, которая также позитивно отозвалась о фильме, соглашается с тем, что фильм очень тёмный. В определённый момент у неё возник вопрос: «это искусство или Финчер просто не заплатил за свет?»
«Семь» не избежал сравнения с другими триллерами 1990-х годов. По мнению Эдварда Гутмена, Джона Доу по жути и интеллекту можно сравнить с Ганнибалом Лектером. С ним не соглашается Джейми Бернард, полагая, что фильм Финчера уступает в глубине и интеллектуальности «Молчанию ягнят». Берардинелли в своей статье сравнивает «Семь» с фильмом «Подозрительные лица», замечая, что последний продуманней, однако это не мешает «Семь» оставаться хорошим триллером. На недостаток символизма и интеллектуальности сетует и Эберт. Он увидел в фильме в основном характеры и их взаимодействия, а не рассказ о расследовании. Подобного мнения придерживается и кинокритик Гарри Томпсон.
По поводу актёрской игры и убедительности персонажей мнения критиков разошлись. Так, Кевин Спейси за свою работу был удостоен ряда наград. Игра Фримена получила одобрительные отзывы Берардинелли, однако, по его мнению, персонаж Питта является одной из главных проблем фильма — Миллз абсолютно не привлекает. Эберт также отметил Фримена и причислил Сомерсета к лучшим ролям актёра. Эберт также отметил, что персонаж Пэлтроу вносит в фильм немного гуманности и является связующим звеном между двумя напарниками.
Однако не от всех критиков «Семь» получил одобрительные отзывы. Майкл Уилмингтон положительно отозвался о режиссёрской, актёрской и операторской работе, однако сам фильм ему не понравился. По его мнению, главной проблемой стал сценарий: слишком сложные диалоги, непонятная мотивация двух полицейских. Он назвал восьмым смертным грехом «необъективную оценку сценария». В подобном стиле высказался и Дессон Гоув, который высоко оценил режиссуру, но назвал конец фильма «предательством зрителя». Кэрол Бакленд критически отозвалась о роли Трейси как «жертвенного агнца», а Джон Рателл обвинил Финчера в неподобающем отношении к женщине в его фильме.
Награды и номинации
Фильм также был среди кандидатов на попадание в списки Американского института киноискусства:
- 100 самых остросюжетных американских фильмов за 100 лет — номинант.
- 10 лучших американских фильмов в 10 классических жанрах — номинант.
- 100 лучших героев и злодеев за 100 лет — Джон Доу — номинант.
В 2015 году в честь своего 25-летия сайт IMDb составил список самых рейтинговых (оценка посетителей сайта) фильмов каждого года за последние 25 лет. В этом списке есть и «Семь» как самый рейтинговый фильм 1995 года.
Выпуск на VHS, DVD и BD
После проката в кинотеатрах в 1996 году фильм был издан на кассетах (14 октября 1996 года в формате VHS) и на лазерных дисках в двух вариантах. Первый вариант издания, выпущенный непосредственно «New Line Cinema», состоит из двух дисков (три стороны) и содержит только сам фильм. Другое издание, компании «Criterion», включает в себя четыре диска (семь сторон), которые помимо фильма содержат ещё и дополнительный материал: комментарии актёров, режиссёра, сценариста, продюсеров, визажистов, вырезанные сцены и альтернативные концовки. Технические характеристики дисков подобные: отношение сторон составляет 2,35:1 (как и в кинотеатральном показе), использован аудиоформат — Dolby AC-3. Однако на дисках от «Criterion» для уплотнения записи использовано только CAV, в то время как в другом варианте — и CAV, и CLV.
26 марта 1997 года «New Line Cinema» выпустили первый DVD-диск, который содержал только фильм, записанный на двух сторонах. Соотношение сторон дисплея 16:9. На этом издании доступны аудиоформаты Dolby Digital 5.1 и Dolby Digital Stereo. Уже 12 октября 2000 года в свет вышел новый DVD-выпуск «Se7en: Platinum Series». Он состоит из двух дисков, с разным содержимым. На первом диске записан собственно фильм, а также аудиокомментарии актёров, режиссёра, сценариста, продюсера, оператора, дизайнера, монтажёра, звукорежиссёра и композитора. На втором диске расположились пояснения по созданию вступительных титров, вырезанные сцены и некоторые альтернативные концовки, дневник Джона Доу, комментарии фотографов, фильмографии актёров, мастеринг. В результате сотрудничества Финчера и колориста Стивена Накамуры было создано новое изображение для фильма, которое не базировалось на технике ретенции серебра. Отношение сторон дисплея составило 2,40:1, доступны аудиоформаты Dolby Digital 5.1, DTS 6.1 ES и Dolby 2.0 Surround.
14 сентября 2010 года вышел BD «Семь». Содержимое диска не отличается от DVD 2000 года. Сам фильм теперь можно посмотреть в качестве 1080p. Отношение сторон дисплея также осталось неизменным — 2,40:1. Доступны аудиоформаты — DTS HD Master Audio 7.1 (для английского языка) и Dolby Digital 5.1 для остальных имеющихся на диске языков (испанский, немецкий, португальский, тайский).
Сиквел, приквел и комиксы
После успеха фильма продюсеры «New Line Cinema» проявили заинтересованность в продолжении истории. В 2002 году кинокомпания выкупила у Теда Гриффина сценарий, в котором речь шла о враче-экстрасенсе, помогающему ФБР в поисках серийного убийцы. Сценарий рассматривался как основа для сиквела «Семь». Рабочим названием проекта стало «E8ight» («Восемь»), а врача должен был сыграть Морган Фриман. Однако Дэвид Финчер идею не поддержал и отказался участвовать в проекте. В конце концов, продюсеры отказались от этой затеи, а сценарий фильма был несколько переписан и использован для другого фильма — «Утешение» с Энтони Хопкинсом и Колином Фаррелом в главных ролях.
В 2006 году ходили слухи о планах снимать приквел к фильму «Семь», под рабочим названием «Virtue», однако до съёмок дело не дошло.
В сентябре 2006 года в свет вышел первый выпуск комикса «SE7EN». Издательством занялась компания «Zenescope Entertainment», получившая разрешение на использование интеллектуальной собственности от «New Line Cinema». Всего в течение 2006—2007 годов было выпущено семь выпусков комикса — по выпуску на каждый смертный грех. Каждый выпуск включает 32 цветные страницы. В отличие от фильма, в комиксах повествование ведётся с точки зрения Джона Доу.
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Долог и тяжек путь от преисподней к свету.
«Семь» начинается как детектив, продолжается как триллер и заканчивается как фильм ужасов. Режиссеру Дэвиду ФИНЧЕРУ повезло, что сценарий оказался у New Line Cinema. Другая кинокомпания могла и не пойти ему навстречу. А New Line Cinema раскрутилась на цикле «Кошмар на улице вязов». Главный исполнительный директор по кинопроизводству Майкл Де Лука был поклонником графических романов Франка Миллера о «Городе грехов» и автором сценария карпентеровскогого «В пасти безумия» (1994 год).
Кинокритики
Вышедший в 1995 году фильм «Семь» не был встречен восторженными возгласами кинокритиков а-ля: «Новый Гоголь родился!». Скорее наоборот.
— Это «Молчание ягнят» для бедных, в котором два малосовместимых детективов пытаются угадать серийного убийцу. Название относится к семи смертным грехам: обжорству, жадности, лености, гордыне, похоти, зависти и гневу. Из них создатели фильма виновны в жадности и лености, и зрители наверняка пострадают от гнева, — Джами Бернард в «Daily News».
— Большинство сцен малодостоверны, а это значит, к концу фильма дуэт полицейских сражается не только с безумным убийцей, но и со нестандартным сценаристом… Сценарист Эндрю УОКЕР вкладывает банальные диалоги в их уста, невозможные мотивы — в их души. Восьмой смертный грех наносит здесь больше ущерба, чем другие вместе взятые: плохой сценарий, — Майкл Уилмингтон в «Chicago Tribune».
— «Семь» включает в себя два знакомых типа детективов: дерзкий новичок (Брэд ПИТТ) и стойкий ветеран, который находится на грани ухода из полиции (Морган ФРИМАН). У молодого парня любящая и терпеливая жена (Гвинет ПЭЛТРОУ), поэтому в фильме он обращается с ней, как с собакой. Что касается ветерана, если вы догадаетесь, что до пенсии у него всего неделя, естественно, вы правы, — а это блистательная Джанет Маслин из «Нью-Йорк таймс» — еще до того, как перешла из кинокритиков в книжные обозреватели.
Все эти рецензии плюс еще полтора десятка других опубликованы в один день – 22 сентября 1995 года, в день премьеры в США (кинокритикам фильм показали заранее).
ФИНЧЕРУ неизменно тыкали пальцем в рану, нанесенную «Чужим-3», который он покинул, не начав монтировать (позже режиссер признался: нет, наверное, такого человека, который бы ненавидел этот фильм больше, чем он). Заявляли, что самый большой грех – искусственность приема с убийствами, каждое из которых посвящено одному из смертных грехов. Напоминали похожие идеи в «Кто убивает великих поваров Европы?» 1978 года (поваров умертвляли способами, связанными с их самыми известными блюдами) или в «Театре крови» 1973 года (здесь убивали, используя сцены смертей из пьес Шекспира).
Даже иронизировали по поводу биографии сценариста УОКЕРА в связи с его работой в магазине по продаже компакт-дисков и видеокассет: «С тех пор, как Квентин ТАРАНТИНО раскрыл, что раньше работал в видеомагазине, информация такого рода проникает в официальные биографии все большего и большего числа кинематографистов». Кто-то вспомнил и «Десять негритят» (точнее, «И никого не стало» — под этим названием роман публиковался в США) Агаты Кристи.
Однако при бюджете 33 млн долларов, «Семь» заработал в прокате 327,3 миллиона. Из них 100 млн – в США.
Отрезанная голова
По официальной версии режиссеру, зарекшемуся после попытки с Чужим-3 снимать большое кино, студия по ошибке направила не тот сценарий. Дочитав до конца, где серийный убийца, пообещав показать два пока не найденных трупа, вместе с полицейскими выехал за город – а там посыльный привез им коробку с головой жены детектива Миллза, тут же взъярившегося и застрелившего убийцу, осуществляя, тем самым, его замысел, ФИНЧЕР в восторге позвонил агенту. Тут-то и выяснился косяк.
Студия поправилась, но было поздно: импринтинг уже состоялся. ФИНЧЕР уперся: весь, мол, цимес фильма не в убийстве семи грешников – предсказуемо и банально, а в отрезанной голове. Это крючок, который вонзится в горло зрителя и не отпустит его. Пусть даже наживкой будет совсем другая история – про грехи, смертные в прямом смысле этого слова. ФИНЧЕРУ удалось убедить Брэда ПИТТА, которого на роль выбирал не он. А ПИТТ заставил студию включить в контракт пункт, что он снимается только при таком сценарии.
Как рассказывал ФИНЧЕР в январе 2009 года в интервью «The Guardian», «мой агент, очень милый и позитивный, сказал: «Вы знаете, New Line Cinema интересуется сценарием. Вам может понравиться, и они могут захотеть сделать фильм вместе с вами, так что, возможно, стоит прочитать». Когда я добрался до самого конца — с головой в коробке — позвонил ему: «Это фантастично и здорово! Я начал читать как обычную полицейскую историю, но это оказалась медитация о зле и о том, как зло попадает в вас, и вы не можете избавиться от него», он недоумевал: «О чем ты?». А я говорил, что голова в коробке – шедевр. Жена детектива уже несколько часов мертва, а они про это не знают и осуществляют свои обычные процедуры. И нет в сценарии обычной чуши про парня, мчащегося по тротуарам, чтобы успеть спасти женщину, которая принимает душ в тот момент, когда серийный убийца пробирается внутрь через заднее окно. И тут до него доходит: «О! Они прислали тебе не тот черновик». И мне прислали правильный сценарий, где, естественно, были и парень, мчащийся через город по тротуарам, и серийный убийца, крадущийся в заднее окно. Но я уперся: это неинтересно! И встретился с Майком Де Лука, который в то время работал в New Line, заявив, что мне понравился первый вариант сценария, а не 13-й. И он ответил: «Мне тоже». И попросил: «Закройте дверь». А потом сказал: «Если мы войдем в диалог об возможных изменениях, то не сможем сделать понравившуюся вам версию, потому что будет еще 15 человек, которые будут смотреть через мое плечо по мере того, как мы будем двигаться по сценарию. Но если вы возьметесь за фильм, то через шесть недель уже начнете снимать выбранную вами версию». И я согласился: «По рукам: возвращайте голову в коробку».
Так появился фильм.
Но нужно было уговорить еще и продюссера. Как вспоминал ФИНЧЕР в другом интервью – Марку Солсбери, «убедив студию, единственным человеком, которого нужно было еще убедить, был продюсер фильма Арнольд Копельсон. Он заявил: «Никакой головы в коробке! Этого я не допущу — даже не говори со мной об этом». Но я сказал так: «Арнольд, через пятьдесят лет, на вечеринке будет группа людей от двадцати пяти до тридцати лет, и один из них скажет: «Помните, когда нам было пятнадцать? И фильм показывали по телевидению, как его там – забыл название и кто в нем играл, но там в конце — отрезанная голова в коробке, и этот парень подъезжает посреди пустыни», и все собравшиеся говорят: «О, да! Конечно, помним». Это единственное, чем запомнится фильм. И он согласился».
ФИНЧЕР был прав. Помните «Персонаж» 2006 года? Его главный герой налоговый агент Гарольд вдруг узнал, что он – персонаж пишущегося романа.
Романа с трагическим концом. Он «человек», конечно, занудный, но и забавный, и уже успел нас зацепить пробуждающимся через его нелепую жизнь нежданным-негаданным чувством. И он хочет жить. Профессор литературы, которого играет Дастин Хоффман, прочитав черновик книги, ему говорит: «Это шедевр. И он хорош только при условии, что в конце вы умрете. Вы должны умереть». А позже прочитал роман и с иным финалом, в котором у автора, познакомившейся со своим персонажем вживую, не поднялась на него рука: «Это неплохо. Не самая выдающаяся книга, вышедшая за последний год. Но ничего».
Когда убийца, которого зовут Джон Доу (так называют в американской полиции неопознанное тело, а в судах используют в ситуации, когда настоящий истец неизвестен или анонимен) разговаривает в конце с молодым детективом Миллзом, он практически повторяет эти слова ФИНЧЕРА: «То, что я сделал, будут долго разгадывать, изучать. И следовать этому. Во веки веков… Вы должны благодарить меня за то, что вас будут помнить». На что Миллз замечает: «Ты не пророк и помнить тебя будут неделю. В лучшем случае, нарисуют твою рожу на майках».
В этот момент он еще не знает, что очень скоро в порыве ярости убьет Джона Доу, став воплощением смертного греха «Гнев». Из ряда вон выходящий ход вырвал «Семь» из потока аналогичных картин. Все остальное – «убийство по алфавиту», неназванный вечно дождливый город, всепоглощающий сумрак, в который тыкаются слепые лучи фонариков детективов, оригинальные начальные титры, где мы видим пока непонятные методичные действия преступника, – всего лишь достойное обрамление.
Базовый сценарий
Сценарист Эндрю Кевин УОКЕР родился 14 августа 1964 года. В конце 80-х, приехав в Нью-Йорк, он несколько лет проработал в торговой сети Tower Records. Первой его работой в кино, написанной еще тогда, был сценарий «Сканирования мозга» («Brainscan»). Об этом он сообщает на собственном сайте: «компания, для которой я его писал, обанкротилась, но, к моему удивлению, фильм через несколько лет (в 1994-м — mif1959) все же появился».
Речь в нем идет о подростке-ботане, увлекшемся компьютерной игрой «Brainscan», где игрок действует как бы от лица серийного убийцы. Однако придя в себя после игры, обнаруживает, что убийства совершены на самом деле. А с экрана с ним начинает общаться некий гротескного вида человек, подталкивающий к дальнейшим агрессивным действиям в игре.
На уже упомянутом собственном сайте УОКЕР разместил и тот самый сценарий «Семи» с головой в коробке, обозначив его как «первый черновик» (на самом деле, он был не первый). Кстати, УОКЕР «сыграл» в фильме «Семь» первый труп:
Дэвид ФИНЧЕР обрезал начало и конец и почистил в середине. Сценарий начинается с поездки Уильяма Сомерсета (Морган ФРИМЕН) за город в дом, где он собирается жить на пенсии. А фильм — со сцены утреннего одевания детектива, где среди прочего мы видим непонятный прямоугольник с цветком – это фрагмент обоев, который он по сценарию вырезал со стены своего будущего загородного весьма обшарпанного дома.
Исчезло и несколько эпизодов с Трейси (Гвинет ПЭЛТРОУ), в частности, с поиском работы в школе. При каждом выезде из квартиры город ее ужасает.
Как у Чехова с ружьем на стене, домашние тренировки Сомерсета с киданием ножа в мишень, тоже имели смысл. Согласно сценарию, когда герой Моргана ФРИМЕНА, увидев пресловутую «голову в коробке», бежит к напарнику с криком «Брось пистолет», а тот в недоумении целится в него, то демонстративно выбрасывает свое оружие, но прячет в руке нож, готовясь метнуть в Миллза, чтобы остановить. Но Миллз, инстинктивно среагировав на опасное движение его руки, стреляет в Сомерсета и ранит в плечо.
В следующей выброшенной сцене мы видим больницу: к Сомерсету пришел капитан, принес подарок от сослуживцев – набор инструментов, чтобы довести до ума «то дерьмо, которое ты называешь загородным домом» и письмо от Миллза, которого «завтра судят». Бывший напарник пишет: «Ты был прав. Прав во всем».
Вырезана сцена ударной смысловой концовки: детектив выписывается из больницы. Ему выдают вещи, что были при нем при госпитализации. В частности, кусок обоев с цветком и со следами засохшей крови:
— Он смотрит вверх, прищурившись от солнца, на шумный город. В узком каньоне, образованном зданиями, мчались автомобили, автобусы и такси.
Он видит человека, говорящего с самим собой, лежащего на тротуаре в куче мусора.
Видит людей, несчастных людей, проходящих мимо.
Вот идет мужчина, держа маленького сына за руку. А потом поднимает его и несет дальше его на руках. Мальчик смеется и обнимает отца за шею с большой нежностью.
Сомерсет наблюдает, как они исчезают в массе человечества.
Он складывает письмо и кусок окровавленных обоев вместе и рвет на мелкие кусочки. А потом поднимается в полицейский участок и двери закрываются за ним.
ФИНЧЕР безжалостной рукой убрал все эти «розовые сопли». И даже собирался завершить фильм сразу после выстрела Миллза в Джона Доу. Но продюсеры настояли на концовке из Хемингуэя: «Мир хорошее место. За него стоит сражаться». С последним я согласен».
Фраза из романа Хемингуэя «По ком звонит колокол» про мир и про «бороться» была эпиграфом Эндрю УОКЕРА к ряду вариантов сценария, а вот насчет согласия рассказчика лишь со второй половиной цитаты добавлено режиссером уже после фокус-группы.
Трейси
За прошедшие годы фильм стал классикой и забронзовел. Уже никто не пытается указать на его логические неувязки. А они есть. И самая грубая из них связана с шестой жертвой. Семь грехов – семь убийств. Но воплощение седьмого греха – «гнева» — Миллз остался жив. Суд над ним – за кадром повествования: но вряд ли он получил реальный срок, так как действовал в состоянии аффекта. Но убита его жена Трейси. За что? Ведь для Джона Доу убийства носили концептуальный характер:
— Я лично хотел обратить каждый грех против грешника.
— Погоди, но мне казалось, что ты убивал невинных людей.
— Невинных? Вы что — шутите? Мерзкий, заплывший жиром обжора, который едва мог стоять. Если бы вы увидели его на улице, то показали бы пальцем, чтобы ваши друзья посмеялись вместе с вами. Если бы вы увидели, как он ест, то сами есть не смогли бы… А женщина? Настолько мерзкая изнутри, что не смогла жить, когда стала такой же снаружи. Торговец наркотиками, к тому же педераст. И наконец шлюха, сеявшая заразу. Только в нашем подлом мире можно называть таких людей невинными. Да еще с честным лицом… Но дело не в этом. Мы видим смертные грехи на каждом углу, в каждом доме, и терпим их, потому что это общепринято. Это обычно.
И какая же вина у Трейси? А у ребенка, которого она несла в себе?
Некоторые утверждают, что видели в фильме отрезанную голову Трейси. Но ее там не было даже в проекте. На секунду – перебивкой — в тот момент, когда Миллз, потрясенный, все еще отказывается этому верить, мы видим облик самой Трейси.
Миллз
Когда Сомерсет, после обнаружения тела адвоката (грех «Алчность»), читает вслух записку убийцы со словами «Один фунт мяса. Не больше и не меньше. Ни кости, ни хряща. Одно лишь мясо», то сразу узнаёт цитату: «Венецианский купец», на что его молодой коллега пожимает плечами: «Не видел». Кругозор Миллза узок. Он умен, целеустремлен, эмоционален, но зациклен на работе, любимых собаках, жене. На все, что помимо, его просто не хватает. Разве что еще на телевизор.
Когда детективы просматривают полученный от сотрудника ЦРУ список книг о грехах и убийствах, он произносит в русском дубляже «Маркиз де Садэ», а Сомерсет поправляет: «Маркиз де Сад». В оригинале оговорка показательнее: «Маркиз де Шадэй». Sade (произносится Шадэй) — очень известная тогда британская певица. Чуть ранее, в офисе, Миллз говорит про убийцу: «Из того, что он ходит в библиотеку, еще не следует, что он гений». В англоязычном оригинале нет «гения», но есть Йода (который джедай).
Двумя сценами ранее, в квартире Миллза, после вечеринки, Сомерсет размышляет:
— Эти грехи использовались в средневековых проповедях. Было семь добродетелей и семь смертных грехов. Их применяли как орудие поучения.
И неожиданно слышит в ответ:
— Да-да-да. Как в «Рассказе священника». И у этого, как его? Данте.
— Так ты читал? – удивляется он.
— Частями. Помните, в Чистилище Данте приятели поднимаются по холму и видят всех грешников.
— Семь кругов.
— Да-да. Точно. Но там сначала идет гордыня, а не чревоугодие.
Российский зритель может и здесь пропустить нюанс. Сомерсет составил для напарника список книг к прочтению. Тот пробует читать, но – увы – никак. И заказывает Cliffs Notes. Это то же самое, что наши «Анна Каренина за 10 минут» — очень сокращенные версии книг. Вот они, брошенные Миллзом на заднее сиденье машины в среду утром.
Миллз – типичный капитан Жеглов (фильма, а не книги). Энергичный, неглупый, обаятельный и наступательный. И с той же установкой: «Вор должен сидеть в тюрьме!». Разве что на этот раз в паре оказался младшим.
Он – холерик, эмоционально подвижный и быстро выходящий из себя. Эту его черту мгновенно засек Джон Доу – еще на лестнице, притворившийся фоторепортером. И ухватился за нее. Но считать, что идея, захватившая ФИНЧЕРА в сценарии: «медитация о зле и о том, как зло попадает в вас, и вы не можете избавиться от него» относиться к Миллзу – абсурд!
Где вы видите медитацию? Она предусматривает состояние сосредоточенности. Миллз даже не сосредотачивается: стрелять или нет. Он вообще про это не думает. Он просто не хочет верить в то, что ЭТО на самом деле произошло. А потом поступает так, как на его месте должен поступить Мужчина. Да, были редкие фильмы, где Главный Герой отказывался в таких случаях убивать, но практически во всех из них существует отрезок времени между тем, как он узнавал о смерти близкого человека и моментом, когда он настигал убийцу, то есть был Путь, пусть даже короткий, который его менял. Это как если идете вечером с женой по улице и тут пара гопников, отталкивая вас, хватаются за жену. Каким бы пацифистом Вы ни были и как бы к жене не относились, вы вынуждены сопротивляться, даже без шансов на победу. Другого варианта нет. В ситуации фильма зрителя отнюдь не пробивает момент истины: «Миллз грешен». Это потом, по здравому размышлению, мы можем считать, что совершенное им убийство — грех. Но не в данный момент.
Может, речь идет о Джоне Доу? Ведь это он проповедует своими убийствами. Борется с погрязшем во зле миром. Во имя благой цели убивает грешников, дабы преподать пример остальным. Осуществляет зло и не может избавиться от него. Но пардон: где он пытается избавиться от зла, которое внутри него? Он ироничен, спокоен, уверен, и мы не видим процесс проникновения зла в него – только результат.
Даже о нас зрителях нельзя сказать: мы-де чувствуем в связи Миллзом или Доу, что зло проникает в нас. Есть фильмы, где поступки Главного Героя заставляют зрителя морщиться, сознавая, что и мы могли бы быть на его месте в его постыдном поступке. Для меня таковым являются «Избранные» Сергея СОЛОВЬЕВА: вроде бы ГГ не собирался предавать, просто как-то это получилось само собой, шаг за шагом. Зрителя Миллз и Доу не ставят перед выбором. Однако есть персонаж, который перед таким выбором стоит и перед нами его ставит.
Сомерсет
Джон Доу – это Alter ego Уильяма Сомерсета. Его мистер Хайд. Они оба — на одной волне. Чуть ли не близнецы-братья. Судите сами. Доу не указывает в записках авторов цитируемых фраз, однако Сомерсет мгновенно их узнает и называет: Мильтон и Шекспир. Практически сразу детектив понимает логику серийного убийцы. Он достаточно быстро обнаружил надпись за холодильником после первого убийства и говорит про третье: мы пришли ровно через год – день в день – после того, как убийца начал его убивать. Но детективы пришли точно через год только из-за Сомерсета, который догадался стену за картиной в квартире погибшего адвоката посыпать порошком для выявления отпечатков: вряд ли бы до этого додумался его напарник.
И это он в конце концов кричит Миллзу: «Если ты его убьешь, он победит!», сразу же поняв сверхидею убийцы. Но Миллз выстрелил, и Доу победил.
Ни Сомерсета, ни Доу даже не посещает тень сомнения: как можно во имя борьбы с грехом и грешниками убить невинного человека с еще не рожденным ребенком. Разве это не сводит на нет концепцию воздаяния по грехам его? На месте убитых могли быть и другие: грешников много. Но в чем грех Трейси и не родившегося ребенка? Нас убедили (и это сделал Сомерсет), что Доу победил, и мы в этом убеждении пребываем по сию пору. Но это не правда.
Доу понимал, что и сам грешник в своем статусе судьи и палача, и расставил Миллзу ловушку, дабы быть убитым от его руки, указав на свой притянутый за уши грех «Зависти» к здоровой семейной жизни Миллза. Но ведь и Сомерсет в свое время убил собственного не рожденного ребенка:
— Помню, мне стало страшно: могу ли я привести в этот мир нового человека? Смогу ли я вырастить его, когда вокруг такое творится? Я сказал ей, что не хочу ребенка. За несколько недель уговорил ее… Уверен, что принял тогда верное решение, но не проходит ни дня, чтобы я не пожалел об этом.
Первый труп фильма — еще не из семи грешников — был муж, убитый женой в пылу ссоры. Сомерсет спрашивает другого полицейского: «А ребенок видел?». На что тот раздражается: причем здесь ребенок. Наивный зритель негодует на черствость напарника (еще не Миллза) и не понимает, что Сомерсет сладострастно расчесывает собственную рану: ребенку нечего делать в этом страшном порочном мире. Мысль, которую осуществил Джон Доу.
Сомерсет – первый кого мы видим на экране. Он же и последний. Кто-нибудь задумывался: а ведь этот темный мрачный неназванный город мы, по сути, видим его глазами. Это он его так видит:
— Человек гулял с собакой. На него напали. Отобрали часы, бумажник. Он лежал на тротуаре беспомощный. И нападавший выколол ему глаза. Это случилось вчера вечером в четырех кварталах отсюда.
Он уже не понимает происходящего. Город станет ясным и солнечным только когда появляется Доу. Полный ясности, однозначности и правоты.
Оба они больше уже не могут «жить там, где безразличие считается за добродетель». Это слова Сомерсета, но разве не о том же говорит Доу в машине?
Во вторник поздно вечером Сомерсет уходит из дома, и, садясь в такси, видит окровавленного умирающего на улице, которого упаковывают в полиэтилен. Говорит таксисту: «Подальше отсюда». И приезжает в библиотеку. Уже после ее закрытия. Судя по тому, как его встречают охранники, которых он оторвал от игры в карты, он здесь завсегдатай. Но не все же убийства в этом городе связаны с культурным кодом? А значит, обычно он бывает здесь не ради расследований. И он восклицает:
— Никогда я не пойму: здесь столько книг, весь мир знаний ваш, а вы чем занимаетесь! Всю ночь режетесь в покер.
Джон Доу тоже читатель этой библиотеки.
Они как два рыцаря: черный (Доу) и белый (Сомерсет). Оба считают мир греховным, и оба обитают в высшем идеальном культурном мире, общаясь с Данте и Мильтоном, Шекспиром и Хемингуэем. В какой-то мере Сомерсет, работая детективом, тоже исправляет мир. Работа для него преисполнена тем же смыслом, что и у Доу. Но он устал. Когда засыпает, заводит метроном. И медитирует, отключаясь от звуков этого мерзкого города. Пребывая в мире ясном и отмеренном.
В самом конце, в отличие от сценария, для Сомерсета не существует улыбок отца и ребенка, он не согласен с утверждением, что мир – прекрасное место и он не возвращается в полицию. Лишь обещает быть рядом. Но разве Доу не был рядом?
Кстати, Доу как бы не видит Сомерсета. Он звонит Миллзу, восхищаясь тем, как быстро обнаружили его квартиру, приехав сдаваться, он кричит «Детектив!», хотя полицейских двое, он разговаривает в основном с Миллзом в машине в последней поездке за город… Позже в творчестве Дэвида ФИНЧЕРА в развитие этой идеи мы встречаем Главного Героя, который знакомится со странным продавцом мыла, и мир начинает разрушаться.
Первая публикация — на портале «Фантлаб».
18+
| Seven | |
|---|---|
|
Theatrical release poster |
|
| Directed by | David Fincher |
| Written by | Andrew Kevin Walker |
| Produced by |
|
| Starring |
|
| Cinematography | Darius Khondji |
| Edited by | Richard Francis-Bruce |
| Music by | Howard Shore |
|
Production |
Arnold Kopelson Productions |
| Distributed by | New Line Cinema |
|
Release date |
|
|
Running time |
127 minutes |
| Country | United States |
| Language | English |
| Budget | $33–$34 million |
| Box office | $327.3 million |
Seven (stylized as Se7en)[1] is a 1995 American crime thriller film directed by David Fincher and written by Andrew Kevin Walker. It stars Brad Pitt, Morgan Freeman, Gwyneth Paltrow, and John C. McGinley. Set in a crime-ridden, unnamed city, Seven‘s plot follows disenchanted, near-retirement detective William Somerset (Freeman) and his new partner, the recently transferred David Mills (Pitt), as they attempt to stop a serial killer before he can complete a series of murders based on the seven deadly sins.
Walker, an aspiring writer, wrote Seven based on his experiences of moving from a suburban setting to New York City in the late 1980s, during a period of rising crime and drug addiction. His script was optioned by an Italian film company which underwent financial difficulties and sold the rights on to New Line Cinema. Executives were opposed to the script’s bleak ending and mandated a more mainstream, upbeat outcome. Eager to prove himself after the failure of his first feature film project, Alien 3, Fincher read Walker’s original script which he was sent by mistake and agreed to direct as long as the ending remained. The studio continued its efforts to change the ending, but faced opposition from Fincher and the cast. On a $33–$34 million budget, principal photography took place mainly on location in Los Angeles. Rob Bottin helmed the special effects team responsible for realizing the elaborate murders, using makeup and prosthetics.
Seven received middling test audience results and was not expected to perform well due to its violent and mature content, but it went on to earn $327.3 million worldwide, becoming a surprise success and one of the highest-performing films of the year. Reviews were more mixed, with critics praising Freeman’s performance, but criticizing the dark cinematography, implicit and implied violence, and the bleak ending. Seven revitalized Fincher’s career and helped Pitt transition from roles based on his appearance to more serious, dramatic roles.
Seven is now regarded as one of the best thriller, crime, and mystery films ever made. It remains influential in filmmaking, inspiring a host of imitators of its aesthetic, style, and premise of detectives chasing down serial killers with distinctive methods and motives. The film’s title sequence, depicting the killer preparing for his actions later in the film, is considered an important design innovation and also influential on future credit sequences, while Seven‘s twist ending has been named as one of the best in cinematic history.
Plot[edit]
In a city overcome with violent crime and corruption, disillusioned police detective, William Somerset, is one week from retirement. He is partnered with David Mills, a short-tempered but idealistic detective who recently relocated to the city with his wife, Tracy. On Monday, Somerset and Mills investigate an obese man forced to eat until his stomach burst, killing him, and uncover the word «gluttony» written on the wall. Somerset fails to get himself and Mills reassigned to another case, believing it is too extreme for his last investigation. The following day, the second victim, greed, is found, having been forced to cut a pound of flesh from his body. Clues at the scene lead Somerset and Mills to the sloth victim, a drug-dealing pederast, who they find emaciated and restrained to a bed. Photographs reveal the victim was restrained for exactly one year. Somerset surmises that the murders are based on the seven deadly sins.
Tracy invites Somerset to share supper with her and Mills, helping the detectives overcome their mutual hostility toward each other. On Friday, Tracy meets privately with Somerset as she has no other acquaintances in the city. She reveals her unhappiness at moving there, especially after learning she is pregnant, and believes the city is an unfit place to raise a child. Somerset sympathises with Tracy, having convinced his former girlfriend to abort their child for similar reasons and regretting it ever since; he advises her to inform Mills only if she intends to keep the child.
A comment by Mills inspires Somerset to research libraries for anyone checking-out books based on the seven deadly sins, leading the pair to the apartment of John Doe. The suspect returns home unexpectedly and is pursued by Mills, who is incapacitated after being struck with a tire iron by Doe. Mills is held at gunpoint momentarily, but Doe chooses to flee. The police investigate Doe’s apartment, finding a large amount of cash, hundreds of notebooks revealing Doe’s psychopathy, and photos of some of his victims, including images taken of Somerset and Mills by what they believed was an intrusive journalist at the Sloth crime scene. Doe calls the apartment and speaks of his admiration for Mills.
On Saturday, Somerset and Mills investigate the fourth victim, lust, a prostitute raped with a custom-made, bladed strap-on by a man held at gunpoint. The pride victim is found the following day, a model who took her own life rather than live without her beauty, after being facially disfigured by Doe. As Somerset and Mills return to the police station, Doe arrives and turns himself in. He threatens to plead insanity at his trial, potentially escaping punishment, unless Mills and Somerset escort him to an undisclosed location where they will find the envy and wrath victims. During the drive there, Doe explains that he believes himself to be chosen by God to send a message about the ubiquity of and apathy toward sin. Doe has no remorse for his victims, believing the shocking murders will force society to pay attention to him.
Doe leads the detectives to a remote location, where a delivery van approaches. Somerset intercepts the vehicle and opens a package the driver was instructed to deliver to Mills at this specific time. Horrified at what he finds inside, Somerset tells Mills to put his gun down. Doe reveals that he himself represents envy because he envied Mills’ life with Tracy, and implies the package contains her severed head. He urges Mills to become wrath, telling him that Tracy begged for her life and that of her unborn child, and takes pleasure in realizing that Mills was unaware of the pregnancy. Despite Somerset’s pleas, the distraught and enraged Mills shoots Doe to death, completing his plan. As the catatonic Mills is taken away by the police, Somerset tells his captain that he will «be around.» A narration by Somerset says: «Ernest Hemingway once wrote ‘The world is a fine place and worth fighting for.’ I agree with the second part.»
Cast[edit]
- Brad Pitt as David Mills: A well-meaning but impulsive homicide detective[2]
- Morgan Freeman as William Somerset: A veteran police officer disillusioned with his job[2][3][4]
- Gwyneth Paltrow as Tracy Mills: Detective Mills’ pregnant wife[2][5]
- R. Lee Ermey as Police Captain: The detectives’ grizzled superior[6]
- John C. McGinley as California: A SWAT team leader[7]
- Kevin Spacey as John Doe: A serial killer inspired by the seven deadly sins[7][5]
- Richard Roundtree as Martin Talbot: The district attorney[8]
Seven also features Julie Araskog as Mrs. Gould, John Cassini as Officer Davis, Reg E. Cathey, Peter Crombie, and Richard Portnow as, respectively, Doctors Santiago, O’Neill, and Beardsley, Richard Schiff as Mark Swarr, and Mark Boone Junior as «greasy FBI Man.» Hawthorne James appears as George, the library night guard, Michael Massee portrays «man in massage parlour booth», Leland Orser plays «crazed man in massage parlour», Pamala Tyson portrays a thin vagrant outside Doe’s apartment,[9] and Doe’s delivery man is played by Richmond Arquette.[10]
Doe’s victims include: Bob Mack appears as Gluttony, a morbidly obese man force fed until his stomach bursts; Gene Borkan portrays Greed, a criminal-attorney forced to cut off his own flesh; and Michael Reid MacKay appears as the Sloth victim, Theodore «Victor» Allen, a drug dealer and child abuser.[11][12][7] Cat Mueller portrays the Lust victim, a sex worker impaled with a bladed sex toy, and Heidi Schanz appears as model Rachel Slade, Pride, who is disfigured by Doe.[11][12] Writer Andrew Kevin Walker makes a cameo appearance as a corpse investigated by Somerset during the film’s opening scene,[13] Freeman’s son, Alfonso, appears as a fingerprint technician, and columnist George Christy portrays the police department janitor scraping Somerset’s name from his door.[13][10][14][15][16]
Production[edit]
Writing[edit]
Andrew Kevin Walker, moved from the suburbs of Pennsylvania to New York City in 1986, and described the «culture shock» of living in a city undergoing a period of significant rises in crime and drug abuse.[13] While working as a sales assistant for Tower Records in 1991, the aspiring screenwriter began writing a spec script, Seven, set in a bleak and gloomy (unnamed) city inspired by his «depressing» time in New York.[a] Walker said, «it’s true that if I hadn’t lived there I probably wouldn’t have written Seven … I think it’s that way for anything—the right time and the right mood, and the right inspiration, whatever inspiration is. That’s what’s so scary about writing.»[22][19][21] Film studios were eager for high concept spec scripts, and Walker believed his thriller about police officers pursuing a serial killer driven by the seven deadly sins would attract attention and help begin a professional writing career.[20][19][22][13]
Walker intended to leave the narrative open to interpretation so as to not invalidate the opinions of his prospective audience. He wanted to defy the audiences’ expectations and leave them feeling «violated and exhausted» by the conclusion, because «there’s lots of evil out there, and you’re not always going to get the satisfaction of having any sort of understanding of why that is. That’s one of the things that scares people the most about serial killers.»[23] For the killer, Walker recounted his own experiences of walking down the city streets and observing crimes and sins being openly committed on every corner, and what would happen if someone was specifically focused on these sins.[13] He had Doe surrender himself to the police because it would rob the audience and characters of the anticipated satisfaction and make them uncomfortable leading into the finale.[24]
The script was optioned in the early 1990s by Italian company, Penta Film, under manager Phyllis Carlyle. Walker was paid the minimum fee allowed by the Writers Guild of America, which he described as not being «fuck you money,» but enough to quit his job, relocate to Los Angeles, and work on Seven.[18][19][13]
Development[edit]
To helm the project, Penta Film hired director Jeremiah S. Chechik, who had recently directed the successful comedy film, National Lampoon’s Christmas Vacation (1989), and was looking for a more serious project. However, Chechik and Penta Film mandated several script changes, including removing the bleak «head-in-the-box» ending, in which the decapitated head of Tracy is delivered in a box.[4][18][20][17][13] Given the option to refuse the requests and risk being replaced or the project cancelled, Walker acquiesced, writing a more mainstream ending in which the detectives confront Doe in a church, described as either burnt-out or actively on fire.[17][20][18] In this version, Doe embodies the sin of Envy and kills Mills before being shot dead by Somerset, while a pregnant Tracy leaves the city.[25][20][18] In a 2017 interview, Walker said he felt that he was ruining his script and should have left the project.[18] In total, he wrote thirteen different drafts to meet the studio demands.[26] The project failed to progress and as the option was expiring and Penta Film was experiencing financial difficulties (eventually dissolving in 1994), the studio sold the rights to producer Arnold Kopelson, who brought it to film studio, New Line Cinema.[18][19][20][27] Chechik also left the project, with Guillermo del Toro and Phil Joanou approached to replace him; Joanou turned it down because he found the story too bleak.[17][28][29]
David Fincher was mainly known for directing popular music videos, such as «Janie’s Got a Gun», «Vogue», and «Who Is It». His only feature film, Alien 3 (1992), had been a negative experience which tasked him with filming without a complete script, and its studio, 20th Century Fox, significantly modified the film in editing, against Fincher’s wishes. Fincher disowned the film, saying «I’d rather die of colon cancer than make another movie.»[30][31][32][4] Even so, his agent brought him the Seven script. Fincher was uninterested in the police procedural aspects but found himself drawn in by the gradual reveal of Doe’s plans, saying «I found myself getting more and more trapped in this kind of evil … and even though I felt uncomfortable about being there, I had to keep going.» He determined the script matched his own creative sensibilities, particularly its «meditation on evil and how evil gets on you and you can’t get it off,» and uncompromising ending in which «[Tracy’s] been dead for hours and there’s no bullshit chase across town and the guy driving on sidewalks to get to the woman, who’s drawing a bath while the serial killer sneaks in the back window.»[b] Fincher expressed his interest to the studio, and it was realized that he had been sent Walker’s original script. New Line Cinema sent Fincher a current draft in which Tracy survived, but he would only agree to direct the original script. He met with New Line Cinema’s president of production, Michael De Luca, who also preferred the original script and the pair agreed to start filming that version in six weeks, believing delaying any longer risked executives noticing their plan and interfering.[c]
Despite their efforts, Kopelson and studio executives made efforts to lighten Seven‘s tone and change the ending.[d] Fincher was resistant to any changes, unwilling to compromise his creative control or vision.[32][28] De Luca remained supportive of Fincher, and the original ending gained further backing as the project secured prominent actors, including Freeman, Pitt, and Spacey.[13][20][22][21] In particular, Pitt said he joined Seven on condition that the head-in-the-box ending be retained, and that Mills «[shoots] the killer in the end. He doesn’t do the ‘right’ thing, he does the thing of passion.» He was upset that the original ending to his previous film, Legends of the Fall (1994), had been cut in response to negative test audience results.[35][25] Kopelson was convinced to support Fincher after being reassured that the decapitated head would not be shown, saying «it needed this horrendous event to kick off the last sin, wrath,» that would be discussed for decades.[24][33] Walker said, «there’s nothing wrong with [positive] endings, it’s just that the dark ending of Seven was what it was about. To change the ending to something else was to remove the very heart of the story.[24][13]
Walker performed some script refinements, including extending a chase sequence depicting Mills cautiously pursuing Doe, aiming to avoid typical cinematic chases in which characters frantically pursued their target. He said, «I always thought, ‘God, if someone was shooting at me, I would be terrified to turn any corner!'»[20][36] A shooting script was completed by August 1994.[20][4]
Casting[edit]
Kevin Spacey (pictured in 2013) was a late addition to Seven as the studio did not want to pay his fee. Ned Beatty was offered the role of John Doe because of his resemblance to the 1969 composite sketch of the Zodiac Killer (right).
Pitt had established himself as a credible film star following successes with Interview with the Vampire (1994) and Legends of the Fall, but Fincher had not considered him to portray Mills because «I’d never seen Mills as particularly accomplished, and I was concerned that [Pitt] seemed too together. But when I met him, I thought, this guy is so likable he can get away with murder—he can do anything and people will forgive him for it.»[19][2][33] Conscious of Pitt’s popularity and importance to Seven‘s potential success, Kopelson shortened the pre-production schedule to five weeks from twelve to fit his schedule.[2] Pitt turned down several offers from other films because he wanted to escape his typecasting as a romantic lead character in favor of something with a more «documentary feel» with urban settings and a focus on dialogue, akin to thriller films such as The Conversation (1974).[2][19] He said, «I just wanted to escape the cheese … I came to find out [Fincher] had a lactose intolerance as well, so I was very happy about it.»[2] Pitt described Mills as a well-intentioned «idiot» who «speaks before he really knows what he’s talking about.» He cut his hair for the role and lost weight to reduce the muscle he developed for Legends of the Fall.[2] Sylvester Stallone and Denzel Washington turned the role down.[37][38][39][29]
Walker named the Somerset character after writer W. Somerset Maugham.[4] Walker envisioned William Hurt playing the character, but Fincher cast Freeman; the studio was concerned that pairing a black and white detective would make Seven seem derivative of the action film Lethal Weapon (1987).[40] Robert Duvall, Gene Hackman, and Al Pacino turned the role down.[4][22][41][42][43] The script was modified further after Pitt’s and Freeman’s castings to better match their acting styles; Mills was made more verbose, and Somerset’s dialogue was trimmed down, being made more precise and direct.[44] Robin Wright auditioned for, and Christina Applegate turned down the role of Tracy before Paltrow was cast. She was recommended by Pitt who had been impressed by her Legends of the Fall audition.[29][2][10] Fincher also preferred Paltrow, but was told by those involved that she would not be interested in a «dark» film like Seven. He auditioned about 100 people before Pitt contacted her directly to meet with them.[33] Fincher said Tracy is «so important because it’s the only sunshine we have in the film. This is the feel-bad movie of [1995] … we needed someone who could take those little seconds she gets and fill them with soul, and that’s what I’d always seen in her performances.»[2]
Fincher and Walker wanted Ned Beatty to play John Doe, because of his resemblance to the 1969 composite sketch of the Zodiac Killer; Beatty declined, describing the script as the «most evil thing I’ve ever read.»[45] Michael Stipe, lead vocalist of the rock band R.E.M., was considered but the filming dates conflicted with the band’s tour, Val Kilmer declined the role, and R. Lee Ermey auditioned, but Fincher said his portrayal was «completely unsympathetic» without any depth.[46][47][29] Kevin Spacey was preferred by Pitt, but executives refused to pay his salary.[45][22][13] Doe’s scenes were initially filmed with an unknown actor portraying Doe, but the filmmakers quickly decided to replace them and Pitt helped negotiate Spacey’s involvement. Spacey recalled, «I got a call on a Friday night, and on Monday morning I was on a plane to Los Angeles, shooting on Tuesday»; he filmed his scenes in twelve days.[45][22][13][48] Spacey wanted his name omitted from the film’s marketing and opening credits to ensure the killer’s identity remained a secret.[45][22][13][46][48] He said, «I’d just done Swimming With Sharks (1994), The Usual Suspects, and Outbreak (both 1995) … I knew that if any of those movies did well, my profile would be … different. How would that affect my billing in Se7en? If I’m the third-billed actor in a movie where the top two billings are trying to find somebody and they don’t find that somebody until the last reel, then it’s obvious who that somebody is. It was a bit of a shit-fight for a couple of days, but I felt very strongly that it was the right thing to do for the movie. We finally won because it was a deal-breaker; I was either going to be on a plane to shoot the movie or I wasn’t.»[48]
The 480 lb (220 kg) Bob Mack made his theatrical debut as Gluttony, described as a «very heavy guy face down in spaghetti.» Gene Borkan was cast to play the Greed victim because the filmmakers wanted someone who resembled lawyer Robert Shapiro. He did not realize his character would already be dead and refused a request to perform nude, telling Fincher «I’ll be naked if you’re naked. Otherwise, you don’t get that.» On the set, when he realized what his scene entailed, Borkan renegotiated his salary, receiving «five times [the $522 Screen Actors Guild day-scale fee].»[11] Michael Reid Mackay’s (Sloth) audition involved him portraying a corpse who slowly turned his head towards the camera; it was deemed «creepy» enough.[11][7] Set decorator, Cat Mueller, portrayed the Lust victim after Fincher’s assistant said she had the personality and body to portray a «dead hooker.» She received $500 for six hours of filming over two days, but described being nude in front of Pitt as a perk. Model, Heidi Schanz, was cast as the Pride victim after the previous actress dropped out. Running low on time, Fincher wanted a model with existing headshots and pictures that could be displayed in the character’s apartment. She said, «even though I’m dead, I think it’s the most glamorized murder.»[11] The film’s content made casting and crewing Seven difficult; Gary Oldman turned down an unspecified role, Fincher’s former costume designer declined to work on the film, and talent agents refused to pass offers on to their clients, describing Seven as «evil and misogynistic.»[28][33]
Filming[edit]
Seven was filmed mainly in downtown Los Angeles (pictured in 2016)
Principal photography began on December 12, 1994, and concluded on March 10, 1995.[49] Assistant director, Michael Alan Kahn, recalled the commencement of filming: «I went up to Fincher and I said, ‘Look at this! Look! It’s here! We’re here! You did it! We’re shooting a movie … isn’t this amazing? …’ And he looked at me as though I were from outer space and said, ‘No, it’s awful … now I have to get what’s in my head out of all you cretins.'»[28] Walker was on set throughout filming to provide suggestions or on-spec rewrites, but did not give Fincher much input, believing he should adapt the script as he wanted.[4]
Location shooting took place entirely in downtown Los Angeles.[22][50] Fincher wanted to shoot in Oakland, California, because it had «beautiful clapboard houses,» but the schedule would not allow for this.[50] The film’s near constant rain was a pragmatic decision, as Pitt was only available for a total of fifty-five days before he began filming 12 Monkeys (1995), and it often rained during filming so to avoid any continuity errors Fincher decided to have near-constant rain. He also believed it introduced an inescapable element for the characters, because conditions were bad inside and outside, and made it appear less like Los Angeles which was associated with sunny weather.[51][50][33]
Seven‘s aesthetic was influenced by films such as All That Jazz (1977), The Silence of the Lambs (1991), and The French Connection (1971), as well as the «vulnerable» over-the-shoulder viewpoint of documentary television show, Cops.[50][10] Cinematographer Darius Khondji also named the crime thriller, Klute (1971), as a significant influence because of its «use of toplight … widescreen compositions for intimacy rather than big vistas, the way that vertical strips of the city are shown in horizontal mode, the fragments of faces and bodies … the look of Se7en has this heightened sense of realism—a realism that’s been kicked up several notches and becomes its own style.»[52][26][50] Fincher singled out one scene in Klute, in which the only illumination is the character’s flashlight, saying he disliked other films where characters state that visibility is low but the audience can see the scene clearly.[26][50] Khondji used a mixture of lighting, such as the warm light of Chinese lanterns to represent the past and present, and the cold light of Kino Flos to represent the future.[52]
The studio was unhappy with how dark the dailies were; Khondji suggested printing the footage brighter, but Fincher refused to compromise. Available footage was made into a well-received promotional showreel for the theater owner convention, ShoWest, after which complaints about the darkness ceased.[52][26][50] Khondji used Panavision Primo lenses which offered a sharp image with good contrast, and Kodak film stocks which could capture the «gritty» interiors and deep blacks for night-time exteriors.[53]
The scene in which Mills pursues Doe was described by Khondji, as one of the most difficult scenes to film due to its length as well as fast camera movements in the rain or tight interior spaces that were barely lit. One segment had to be re-filmed because the location was too dark for the camera to capture Freeman’s face.[52] Pitt also insisted on performing his own stunts for the scene, and slipped on a rain-slicked car bonnet, crashing through the windshield and sustaining injuries including cut tendons and nerves in his left hand; Fincher said he saw exposed bone. He returned to the set a few days later, having received stitches and a forearm cast which had to be written into later scenes. For scenes set prior to the chase, Pitt would keep his hand in his pocket or otherwise obscured to hide the injury.[46][2][19][52] Pitt said he regretted not disrobing for a separate scene of Mills and Somerset shaving their chests to wear concealed listening devices. He disliked the public attention given to his body, but later came to believe that taking his shirt off would have conveyed the growing partnership between Mills and Somerset.[14]
The crew had to clear used condoms and crack pipes from the location of the Sloth victim sequence, replacing those with prop crack pipes and air fresheners.[52] The actors were not told the Sloth victim was a person in costume, and McGinley’s shock at the body moving was real.[7][22] Lights with green color gels were shone through the window from the adjacent building to give everything a green tint.[52] Leland Orser, who portrays the man forced to kill the Lust victim, deprived himself of sleep to achieve a «deranged mindset»; his scene was pushed back so he stayed awake another night. He would breathe rapidly between scenes to make himself hyperventilate on camera.[14] The ending was scripted to take place directly beneath transmission towers, a location picked by Doe to interfere with the police communications, but it actually interfered with the film crew radios, and the actors had to use cell phones to communicate with the crew from afar.[46]
Ending and post-production[edit]
The ending remained a point of contention between New Line Cinema and the filmmakers. Fincher wanted to follow Mills shooting Doe with a sudden cut to black, intending to leave the audience stunned, but executives believed this would alienate audiences.[25][54][35][24] Fincher instructed staff at a test screening to keep the lights off following the cut to black so the audience could take it in; his instructions were not followed. Afterward, one female audience member walking by Fincher said, «the people who made that movie should be killed.» Fincher said the screening invitation said, «Would you like to see a new movie starring Brad Pitt and Morgan Freeman,» both known for films very different in tone to Seven, «I don’t know what the fuck they thought they were gonna see … but I’m telling you, from the reaction of the people in there, they were bristling. They couldn’t have been more offended.»[46] Executives wanted a mainstream conclusion in which Mills and Somerset pursue Doe and a kidnapped Tracy, who would survive. Pitt recalled, «[the studio says] ‘You know, he would be much more heroic if he didn’t shoot John Doe—and it’s too unsettling with the head in the box. We think maybe if it was [Mills’] dog’s head in the box.'» Freeman preferred a storyboarded sequence of Somerset killing Doe, sparing Mills from losing his career as well, but Pitt believed Mills had to kill Doe and test audiences preferred that version. Another alternative depicted Mills shooting Somerset to stop him killing Doe before he could. Fincher and Pitt refused to compromise on the head-in-the-box ending but settled for a longer epilogue showing Mills being arrested and Somerset delivering a concluding narration offering some optimism.[25][54][35][24][46]
Pitt and Fincher were unhappy with the car ride scene leading into the ending because the dialogue had to be dubbed over as too much ambient sound had been picked up during filming. Pitt believed this caused the scene to «lost its breath,» affecting the pacing and emotion. The helicopter scenes were also filmed in post-production as there was no time during principal photography, but the studio agreed extra time and funding if the scenes were deemed necessary. Filmed several months later, the green ground had turned brown and so the ground-based scenes had to be color corrected to match the new footage.[46] The opening credits were scripted to be set over footage of Somerset visiting a countryside home he intended to purchase for his retirement, taking a piece of the wallpaper that he would carry through the film, before returning to the city by train. This was intended to create a stark contrast between the countryside and the darkness of the city, but there was insufficient budget to film it. Scenes of Somerset looking at the wallpaper piece had to be cut as a result.
Richard Francis-Bruce edited the 127 minute theatrical cut.[55][24] His style focused on «having a motivated cut,» believing every cut needed to be done with a specific purpose. For the finale, he introduced more rapid cuts to emphasize the tension as Doe’s plan is revealed, and a brief four frame insert of Tracy as Mills pulls the trigger, to compensate for not showing the contents of the box.[24] To emphasize the darkness, Fincher and Khondji used an expensive and lengthy bleach bypass chemical process which retained more of the silver present in the filmstock which would normally be lost. The silver created a luminous effect in lighter tones and deeper darker colors.[22][30][50] Of the 2,500 prints sent to theaters, only a few hundred used the process.[50]
Seven was budgeted at $30–$31 million, but Fincher convinced studio executives to provide further funding to achieve his vision for the film, eventually pushing it $3 million over budget, to a total of $33–$34 million, making it New Line Cinema’s most expensive film at that point.[20][4][33][56][34][57][e] A studio employee said studio executives «would go into these meetings with [Fincher], saying, ‘Absolutely not, not a penny more’ … but he was so relentless and persuasive that they’d come out all ga-ga-eyed, and give him more money.»[56] About $15 million of the budget was spent on below-the-line costs.[34][57]
Music and sound[edit]
Fincher hired Howard Shore to score Seven, based on his score for The Silence of the Lambs.[58] Shore said Fincher would attend recording sessions but rarely interfered with Shore’s process.[28] Performed by an orchestra of up to 100 musicians, the score combines elements of brass, percussion, piano, and trumpets. «Portrait of John Doe» serves as the central theme with two cue notes; a rising version is used for Tracy’s appearances.[58][59][24] Shore described the film’s ending as having a «visceral, kind of primal effect on me.» He incorporated his reaction into the sequence’s score, providing little accompaniment during the dialogue between Mills, Somerset, and Doe, but using it to punctuate significant moments such as Somerset opening the box. Shore said «the music starts, and it turns the scene, it turns it into John Doe’s perspective … the music enters, and you realize, the look of the horror on his face, it’s a chilling moment.»[24]
Shore’s opening theme, «The Last Seven Days», described as a more «upbeat» piece, was replaced by a remix of industrial rock band Nine Inch Nails’s «Closer» by Coil and Danny Hyde.[58][60][61] David Bowie’s «The Hearts Filthy Lesson» is used for the end credits.[62][58][63] Seven features songs including: «In the Beginning» by The Statler Brothers, «Guilty» by Gravity Kills, «Trouble Man» by Marvin Gaye, «Speaking of Happiness» by Gloria Lynne, «Suite No. 3 in D Major, BWV 1068 Air» by Stuttgarter Kammerorchester and Karl Münchinger, «Love Plus One» by Haircut One Hundred, «I Cover the Waterfront» by Billie Holiday, «Now’s the Time» by Charlie Parker, and «Straight, No Chaser» by Thelonious Monk.[59]
Fincher hired his friend Ren Klyce as sound designer. They inserted sounds on the outside of each frame, such as raining or screaming, to create a psychological impression that terrifying things are occurring even when the audience cannot see or escape it. Klyce and sound designer Steve Boedekker also produced the music heard at the entrance to the Lust murder sex club.[64][65]
Design[edit]
Style and set design[edit]
Fincher, Khondji, production designer Arthur Max, and costume designer Michael Kaplan, collaborated on establishing a unified vision for the art direction.[52] Fincher established the design rules for the film: «This is a world that’s fucked up and nothing works.» He wanted every design aspect to look neglected and in a state of decay.[28] Fincher was influenced by the photography of William Eggleston, focused on «coolness», making the visuals simultaneously gritty and stylized as well as classic and contemporary, and the black-and-white photographs of Robert Frank. Khondji said Frank’s style could be seen in Seven‘s very bright exteriors and dark interiors. Many interior scenes were underexposed to create a stark contrast, which in turn made the exteriors stand out more. Interior lighting was also often provided by external sources, using only a few interior artificial lights. The end scene with Mills, Somserset, and Doe, featured inconsistent lighting because the actors were always lit from behind by the sun regardless of where they were standing in the scene, which Khondji described as «a bit of a nightmare and never realistic in terms of continuity.»[52]
Fincher wanted precise staging for every scene to make the audience feel as if they were in the location. He had sets built without removable walls so that they had to film within the confined of the sets, believing it was important to create limitations to challenge himself.[50] Doe’s murder scenes were influenced by photography, such as the work of Joel-Peter Witkin.[52] The «gluttony» set was wrapped in plastic to contain the cockroaches and a cockroach wrangler was used to help control them.[14] The Sloth scene, in particular, took influence from the work of painter Edvard Munch, drawing on the green and «claustrophobic» imagery.[52] The «Lust» sex club ceilings were lowered to make the space more claustrophobic and was sprayed on the walls for texture and to imply that they were covered in bodily fluids. A former bank was used as the library and 5,000 books were rented to fill the space, supplemented with fiberglass replicas. The shaking in Mills apartment, caused by a passing train, was created using gas-powered engines attached to the set. Walker’s script described Doe’s home extensively, with windows painted black for privacy and a drawer filled with empty painkiller bottles to help Doe cope with regular headaches.[14]
Victims[edit]
Rob Bottin led development of practical effects. He researched crime scene photos and police evidence files, observed an autopsy, and studied the effects of obesity to realize his designs.[66] For the Gluttony victim, Mack spent up to 10 hours a day having makeup and prosthetics applied. A scuba-like device was used to let Mack breathe while facedown in spaghetti.[14][46] Mack recalled how he was unaware that he would be surrounded by live insects until reading the daily call sheet and noticing a «cockroach wrangler»; Pitt would flick some roaches off of Mack between takes.[11] The character’s autopsy used a fiberglass replica with a deliberately enlarged penis; Fincher said after Mack spent so long in makeup for 30 seconds of screentime, that he could «at least give him a huge cock.»[14][46]
Bottin’s team spent eleven days experimenting on the right aesthetic and prosthetics for the Sloth victim portrayed by MacKay.[7][66] MacKay was 5.5 ft (170 cm) tall and weighed only 96 lb (44 kg) to 98 lb (44 kg) during filming, offering a slight frame for the emaciated character. The filmmakers asked him to lose more weight but he declined.[11][7] The effects team made a body cast of MacKay to develop rubber prosthetics that could be applied all over his body. The appliances were painted to appear bruised and scarred, veins were airbrushed onto MacKay, and he was fitted with gelatin sores, overgrown fingernails, skeletal teeth, and matted hair. The process took up to 14 hours, requiring MacKay to begin at 5am for filming at 8pm. He was brought to the set in costume, and Freeman quipped, «you don’t look so good.»[7][66] He described filming the scene as «real heavy-duty,» and was left «breathing very hard and crying.»[11][7] He had to remain relatively still over four hours of filming, having to limit his breathing to prevent his stomach rising and falling, and the cold set was worsened by makeup artists repeatedly spraying his body with water. Unable to move, he tensed his muscles to warm himself. He described the moment he was permitted to cough in McGinley’s inspecting face as a «great relief,» as he could move and breathe again.[67]
For Schanz’s Pride victim, Fincher personally added blood to her, while her nose was taped to the side and her face covered in gauze.[11] To secure the film’s release, several scenes of Bottin’s effects work had to be cut.[66] Fincher described Seven as psychologically violent, implying violence without showing it in action.[50] Walker portrays the opening scene corpse, lying in a pool of blood. He said the blood was very cold, and had a minor panic attack once in place because he was worried about moving and ruining the shot.[13]
Title credits[edit]
Following the removal of the planned opening train ride with Somerset, Fincher needed a temporary title sequence to screen Seven for studio executives.[22][68][60][61][36] He recruited R/GA designer, Kyle Cooper, and his team to assemble a montage slideshow reflecting Doe’s perspective. This helped establish the character and his threat earlier in the film as he would not physically appear until Seven‘s final act.[22][68][61][36] The sequence was set to the «Closer» remix at Fincher’s request.[68][61]
The sequence was well received by executives who suggested retaining it for the theatrical release. Fincher did not want to appear as if he was accepting their suggestion and instructed Cooper to develop a new concept; Cooper convinced Fincher to use a more elaborate and detailed version of his slideshow.[68] Cooper focused on Doe’s elaborate journals, glimpsed briefly in the film, while Fincher suggested the sequence physically involve Doe.[68][36] Fincher wanted Mark Romanek to direct the sequence, being a fan of his music video for «Closer» and sharing similar design sensibilities, but Cooper secured the role because of his previous experience on similar title sequences.[68][61] Fincher told Cooper, «all I want is for the audience to want to run screaming from the theater during the title section.»[60]
The sequence depicts Doe’s preparations and routines for his murderous plans, such as cutting off his fingertips, processing photographs in his bathtub, and making tea (inspired by Cooper’s appreciation for the «elegant» way Doe stirs his tea following his surrender). As Doe writes in his journals, the sequence focuses on him crossing out words such as «pregnancy,» «marriage,» and other elements representing concepts of a «perfect life» that he does not believe people deserve.[68][60] Fincher said, «it was a way of introducing the evil. The idea was that you’re watching title sequences from the mind of somebody who’s lost it … [the audience] won’t understand while they’re watching it, but they’ll get it later.»[60] Doe’s journals were made by Clive Piercy and John Sabel, and cost tens of thousands of dollars to fill each one with text and images; about six complete journals were made, supplemented by blank ones on the shelves.[68][61][60] Artist Wayne Coe storyboarded the sequence, which was edited by Angus Wall and shot by Harris Savides.[61] Cooper regularly conferred with Wall on ideas, and spent the night before filming locating items that he believed would make interesting inclusions such as fish hooks and loose hairs from his drain.[68]
Filming took place over eight days, including two days filming a hand model stand-in for Doe.[60][36] Fincher was upset at the casting as the model’s hands were shorter and chunkier than Spacey’s.[60][68] A further five weeks were spent putting the sequence together.[68] Although digital options were available, Cooper’s team opted to assemble the sequence by hand, believing that any irregularities and accidents in the images incurred would enhance the overall aesthetic, and added manual scratches, tears, and pen marks direct to the film negative.[69][61] Fincher and Cooper devised a rough-looking text for the credits to appear as if written by a «disturbed hand.» Fincher said: «I always liked the idea that the titles would be written by Doe, hand-lettered … [Cooper and I] wanted to have them look personal, not typeset. I liked that it wasn’t slick.»[60][61][68] The text was etched onto a black-surfaced scratchboard and visually manipulated while being transferred to film to add a smear effect combined with different variants of the same text achieved by placing the text over a light box and filming them over-exposed, creating an animation-style effect.[61][68] «Disquieting» sounds were added throughout the sequence at a low frequency, such as barking dogs and screams. The title sequence cost $50,000.[60][61]
Release[edit]
Context[edit]
The theatrical box office of 1994 had achieved record grosses, with nine films earning more than $100 million, and the highest attendance (1.29 billion) since 1960 (1.3 billion). However, by 1995, the average cost of making and marketing a film had doubled since 1990, reaching $50.4 million, making it more difficult to turn a profit.[70][71] The rising salary cost of actors was a contributing factor, as studios vied to secure popular actors, such as Harrison Ford, Jim Carrey, Tom Cruise, and Arnold Schwarzenegger, who could generally guarantee a minimum level of box office success and held broad appeal outside of the United States (U.S.) and Canada.[71] If notable stars were unavailable, studios were forced to pay exorbitant salaries for lesser stars and pay other cast lower salaries to offset the costs.[71] The 1995 theatrical box office was in a downturn, the first quarter being about $90 million lower than the same period in 1994. Markets outside of the U.S. and Canada were growing, accounting for 41% of a film’s total revenue, including theatrical and home media profits, and outperforming the U.S. and Canadian box offices for the first time in 1994.[70] Anticipated films such as Batman Forever, Crimson Tide, and Pocahontas, were scheduled for release alongside the most expensive film of its time, Waterworld,[72][70] but New Line Cinema had low expectations for Seven, based on middling scores from test audiences.[73]
Marketing[edit]
New Line Cinema’s marketing president, Chris Pula, called the advertising campaign «risky» because it had to «prepare people» for Seven‘s violent and dark content while making it a topic of discussion among potential audiences.[74] Early trailers and newspaper, television, and radio advertisements focused on the seven sins, presenting Seven as an «edgy» prestige film instead of a jumpscare-style horror. Entertainment professionals also believed violent or horrific films had a limited appeal and rarely received positive reviews. Fincher’s public image had also been tarnished by the failure of Alien 3, and although Freeman and Pitt were proven stars capable of attracting audiences, New Line Cinema struggled to capitalize on Pitt’s popularity. His core audience, teenage girls, were not the target audience for Seven, and research showed that young men would avoid taking a romantic partner to films featuring him because they felt «threatened» by his appeal. The positive word-of-mouth following Seven‘s theatrical release led the marketing campaign to shift focus toward targeting Pitt’s female fans.[73]
The premiere of Seven took place on September 19, 1995, at the Academy of Motion Picture Arts and Sciences in Beverly Hills, California. The event featured over 800 guests, including Fincher, Freeman, McGinley, Spacey, Tia Carrere, Elliott Gould, Matthew Modine, Lori Petty, Lou Diamond Phillips, Michael Rapaport, Eric Roberts, Robert Rodriguez, Steven Seagal, John Singleton, Christian Slater, Quentin Tarantino, and Jennifer Tilly.[75]
Box office[edit]
Seven was released in the United States and Canada on September 22, 1995.[76] During its opening weekend, Seven earned $14 million across 2,441 theaters—an average of $5,714 per theater—making it the number 1 film of the weekend, ahead of the debut of Showgirls ($8.1 million), and To Wong Foo, Thanks for Everything! Julie Newmar ($4.5 million), in its third week of release.[76][77][78] It became the highest-grossing opening September weekend of its time, replacing 1991’s Freddy’s Dead: The Final Nightmare ($12.6 million).[79] The successful opening was credited to the marketing campaign overcoming audience scepticism, as well as, in part, Pitt’s popularity with males and females, although the opening audience skewed more male, as well as lack of competing action films. New Line Cinema distribution executive, Mitch Goldman, had moved up the release date of Seven to avoid this competition as well as strategically opening the film in more theaters than usual to target suburban and small-town locations where Pitt’s recent films had fared well.[79][73][74]
The film remained number 1 in its second weekend, ahead of the debuts of Halloween: The Curse of Michael Myers ($7.3 million) and Devil in a Blue Dress ($5.4 million), and in its third weekend ahead of the debuting Assassins ($9.4 million) and Dead Presidents ($8 million).[80][81] Seven remained the number 1 film until its fifth weekend, falling to number 3 behind the debuts of Get Shorty ($12.7 million) and Now and Then ($7.4 million), and was among the top ten-highest-grossing films for nine weeks.[74][82][83][76] Seven had grossed about $87 million by the end of December, when it received a wide re-release in select locations to raise the film’s profile during the nomination period for the 1996 Academy Awards.[84] The re-release helped raise Seven‘s box office to about $100.1 million, making it the ninth-highest-grossing film of 1995, behind Casper ($100.3 million), Jumanji ($100.5 million), GoldenEye ($106.4 million), Ace Ventura: When Nature Calls ($108.4 million), Pocahontas ($141.6 million), Apollo 13 ($173.8 million), Batman Forever ($184 million), and Toy Story ($192.5 million).[76][85] Estimates by industry experts suggest that as of 1997, the box office returns to the studio—minus the theaters’ share—was $43.1 million.[86]
Seven also performed well outside of the U.S. and Canada, receiving positive audience reactions and successful debuts in countries such as Australia ($1.8 million), South Korea ($808,009), Seoul ($961,538), New Zealand, and the Netherlands.[87] Seven is estimated to have earned a further $227.2 million, giving it a total worldwide gross of $327.3 million, and making it the seventh-highest-grossing film worldwide, behind Apollo 13 ($335.8 million), Batman Forever ($336.5 million), Pocahontas ($347.1 million), GoldenEye ($356.4 million), Toy Story ($365.3 million), and Die Hard: With a Vengeance ($366.1 million).[76][88][32][f] Seven became one of the year’s most profitable films,.[89] Seven was an «unexpected success» and became «one of the most successful movies of the year.»[74]
Reception[edit]
Critical response[edit]
Critics such as Ebert and Howe described Seven as an intelligent and well-made film that could comfortably stand alongside other thrillers.[g] Others compared Seven unfavorably with The Silence of the Lambs and The Usual Suspects, believing it lacked the same intelligent narrative, and took itself too seriously as an examination of evil instead of a «silly piece of pulp.»[h] The Orlando Sentinel said, however, that Seven did offer a «terrific film-noir atmosphere» and excellent performances, with The Seattle Times saying that the film would be «unendurable» without Freeman and Spacey.[100][101]
Critics unanimously praised Freeman’s performance.[i] Terrence Rafferty and Kenneth Turan wrote that Freeman’s «exceptional» performance was mainly responsible for making Seven watchable in spite of itself.[91][98][101] Desson Howe and James Berardinelli said the performance elevated Pitt’s own to appear «actorly,» although Freeman often stole every scene in which he appeared, providing a fresh take on an otherwise cliché role.[92][93][94][100] Reviews of Pitt’s performance were polarized between those who found it «energetic» and impressive, and those who believed the role was beyond his acting abilities.[j] Some reviewers found his performance to continue his successful transition to more serious roles from those based mainly on his appearance,[102][94][96] although Howe said Pitt’s presence did more for Seven than his acting.[92] The Orlando Sentinel said what could have been a cliché role was saved by Mills not being inept or inexperienced, just out of his depth on this particular case.[100] Some reviews said that the character was underdeveloped, pointless, stupid, and not particularly likeable, and that Pitt’s performance lacked the subtlety or effectiveness to compensate.[k] Critics positively received Paltrow’s performance, believing she made the most of her limited screentime and was generally underutilized, while considering the character a «flimsy contrivance».[l] Spacey’s performance was also praised for its creepy and understated portrayal of an intelligent character who does not undermine themselves with «a moment of sheer stupidity.»[m]
Fincher’s directorial style was praised for its «striking craftmanship», and «stunning» visuals that often thrilled and exasperated the viewer simultaneously.[94][96][92][103] In contrast, Rafferty said that his style was less effective stretched over the film’s runtime and that Fincher mistook darkness for profundity and chose style over coherence.[98][101][95][91] Although Siskel considered Walker’s script to be smartly written,[104] several critics were less enthusiastic, finding the dialogue trite, many scenes implausible, and character motivations weak.[103][101][100] Jami Bernard and Richard Schickel wrote that Seven lacked many of the essentials prevalent of its genre such as suspense, witty dialogue, and cathartic humor, or the psychological depth to match the intellectual thrills of its peer, The Silence of the Lambs.[97][101][105]
The violent content of Seven was generally negatively received.[74] Critics such as Berardinelli and Gene Siskel found the gore excessive and «gratuitous».[n] While some found the violent visuals to be tiresome and detracting, others believed that Fincher skilfully avoided showing the violence that led to the deaths, preventing them from distracting from Seven‘s more enjoyable aspects.[93][100][96] Even so, Ebert and Turan believed Seven would be too disturbing for many viewers.[90][91] Fincher responded, «I didn’t set out to piss off the people who are upset. I was told that Michael Medved [film critic at the New York Post] wrote that the movie was evil, but I’m sure he slows down when he passes an accident just like everyone else. Death fasicnates people, but they don’t deal with it.»[50] Howe and Owen Gleiberman felt the ending was «like an act of treachery against the viewer,» undermining any hope for a positive outcome,[92][96] and Barry Norman said it denied the audience «even of the final comfort they fully deserve.»[106] Roger Ebert, however, found the ending to be «satisfying,» but underwhelming compared to the film’s earlier events.[90] Audiences polled by CinemaScore gave the film an average grade of «B» on a scale of A+ to F.[73][107]
Accolades[edit]
Seven received one nomination at the 68th Academy Awards for Best Editing (Richard Francis-Bruce),[32][108] and Walker was nominated for Best Original Screenplay at the 49th British Academy Film Awards.[109] At the MTV Movie Awards, Seven received three awards, Best Movie, Most Desirable Male (Pitt), and Best Villain (Spacey).[110]
Thematic analysis[edit]
Apathy and hope[edit]
The apathy of the unnamed city’s inhabitants is a central theme in Seven.[31][111][24] Somerset does not believe the city can be saved, intending to retire outside of its confines, and telling Mills that women are taught to yell «fire,» not «help,» because people are more likely to pay attention if they selfishly think themselves in danger.[112][111] Taubin described the city as an infection point for corruption, where signs of violence and decay are omnipresent in its dark corners and rain, as well as the television reports, fights, screams, and children in impoverished apartments. Dyer compared the near ubiquitous rain to films such as Blade Runner (1982), as a constant, near inescapable presence, which in Seven can represent sin seeping into every gap. The bleak aesthetic of the city implies a layer of moral decay and indifference by its inhabitants, that enables Doe’s plan.[89][112][113][114][33] Somerset has not stopped caring, but he has become as apathetic as those around him because of the futility of his efforts. Seven reinforces this in several scenes, such as when his concerns that a child witnessed a murder are dismissed, the police captain’s indifference to a mugger needlessly stabbing out his victim’s eyes, and the sex club manager who dislikes his role but sees no alternative.[31][115] Even so, Somerset tries to spare Tracy from the influence of the city by advising her to leave with her unborn child.[111][24]
Somerset and Doe both perceive the ubiquity of sin and indifference toward it. There are parallels in how both men live alone, are devoted to their work, and do not have any meaningful relationships. Although there is mention of Somerset’s former partner and some degree of respect with his colleagues, he tells Tracy that «anyone who spends a significant amount of time with me finds me disagreeable.» Doe’s apartment is a reflection of his own isolation from society.[111][115] They differ, however, in their response to sin: Somerset has surrendered to apathy and sorrow, while Doe feels contempt for society and has assumed a role as their punisher.[116][111] It is implied that Somerset was once passionate about his work until he realized he could not change things, while Doe is dedicated and passionate, believing wholeheartedly in the change his work will bring.[111] Somerset has never killed anyone, and retains a spark of hope that humanity can be better, while Doe kills freely, believing humanity is beyond saving. When Mills tells Doe he is killing innocent people, Doe replies, «only in a world this shitty could you even try to say these were innocent people and keep a straight face. But that’s the point. We see a deadly sin on every street corner, in every home, and we tolerate it. We tolerate it because it’s common, it’s trivial. We tolerate it morning, noon, and night. Well, not anymore.»[111][24][116]
Mills and Somerset are contrasting characters in terms of temperament, morality, intelligence, and personal connections.[117] Somerset is analytical, wise, experienced, and meticulous, while Mills is young, messy, and inexperienced, but full of potential.[115][118] Mills is optimistic and relatively light-hearted, choosing to move to the city because he believed he could have a positive influence until everything is taken from him.[111] Goldberg wrote that Mills and Tracy are naive to the city’s corruption, demonstrated by how they are tricked into renting an apartment that experiences constant shaking from nearby trains.[31][111][119] Dyer said Tracy, in particular, represents potential virtue, but as she is used infrequently to conceal her eventual fate, her impact is reduced.[120]
Doe’s plan does work, shocking Somerset out of his apathy and inspiring him to defer his retirement and fight for a better future.[111] Walker said of the ending, «it’s about «optimist Mills» … going up against this pessimistic kind of world-weary detective in Somerset … those dramatically opposed points of view are pushing and pulling each other throughout the story. And then once pessimism is confirmed, even to the optimist who’s been arguing that the fight is always worth fighting, will the pessimist in the light of confirmation of all his worst predictions, will he stay or will he walk away?»[13] Rosenbaum described it as a «touching, old-fashioned faith in the power of good to reassert itself,» tempered by the fact the hope is inspired by a self-martyred serial killer. He criticized that Seven chose style over substance, giving the overall message that we «remain exactly where we are.»[34] Dyer compared Doe to Hannibal Lecter in The Silence of the Lambs, in terms of ability to outthink and manipulate the authorities combined with his artistic method of arranging his murders, but that they are contrasted by their different social statuses, Lecter being an educated professional and a preference for luxury, while Doe is seemingly self taught, unemployed, and obsessed only with his mission.[121] However, Rosenbaum said that unlike The Silence of the Lambs, Seven did not «exploit its psycho killer for cheap laughs or blind hero worship.»[117] Nayman found Seven problematic, believing it did venerate Doe as having a valid criticism of society.[34]
Religion and order[edit]
Doe’s murders are described by Somerset as his sermons to the masses.[122] Dyer and Saunders describe Doe as conducting a violent crusade demonstrating the consequences of moral decay and sinning, based on his own interpretation of Christian ideology, in a city compared to the biblical Sodom and Gomorrah.[123][124] Writer Patricia Moir said that theorists in the late 1990s believed a growing trend in North America resulted in the decay of social meta narratives of order created by religion, science and art, in turn diminishing societal norms, and that in absence of these paradigms, all that remained was the chaos of existence.[119] Somerset tries to create order using the ticking of a metronome to disguise the disordered noise of sirens and screams outside his apartment.[119][125] Dyer wrote that Somerset smashing the metronome is him acknowledging he can no longer ignore the darkness of the city.[126] Doe creates order by filtering literature about the seven deadly sins and works by authors such as John Milton through a lense of religious fanatacism.[119] He believes his purpose is given by God, which is reflected in the opening credits depicting Doe cutting the word «God» from a dollar bill; Kyle Cooper said, «I hesitated on that one but decided to do it because John Doe took it on himself to play God.»[60]
Doe rationalizes that everyone is guilty of sin or wishing ill on other sinners.[119][124] According to Dyer, Doe is conscious he is also a sinner and so his plan involves his own death.[123][127] Goldberg wrote that Doe is the true sin of wrath, evidenced by his violent acts, but to complete his plan he must make Mills «become» wrath, and gives himself the sin of «envy». His resigned acceptance of the sin is, according to Goldberg, because there is no other sin for him to take and he is conscious that sins will not end with his death. Doe transferring wrath to Mills also demonstrates the infectiousness and pervasiveness of sin.[31] When Mills kills Doe it can be considered an act of good and justice, eliminating a remorseless force of evil, but he commits the act purely for revenge.[31] Film professor Richard Dyer suggests that Doe did not know how to conclude his plan until meeting with Mills while disguised as a photographer, during which Mills displays his wrath.[14] Writer Shaina Weatherhead believed Seven foreshadows the importance of the wrath and envy sins throughout, identifying the color red as representing wrath and green representing envy, colors which appear often: Somerset has a red lamp, Mills drinks from a green mug, and there are background green buildings with red address numbering.[118]
Seven features subtle references to the number seven, reinforcing the religious subtext, such as the Doe’s plan culminating on Sunday, the seventh day of the week and the biblical day of rest, on which Doe’s package for Mills is delivered at 7:01pm.[128] In researching Doe, Somerset references material including «The Parson’s Tale» by Geoffrey Chaucer, which discusses penance, Dante Alighieri’s Divine Comedy and its seven terraces of purgatory, a Catholic dictionary, and a reference to seven children being slain.[129] There are also references to art in Seven such as a stack of spaghetti cans resembling Campbell’s Soup Cans by Andy Warhol. Journalist Kim Newman considered each of Doe’s kills to be arranged as an artistic piece dedicated to each sin.[127] Commentary appears on the excesses of performance art and culture of celebrity, with Mills referring to Doe as a «movie of the week» and a «fucking T-Shirt», implying his legacy will be brief before fading into obscurity. Moir said that Seven provides no final answers about Doe’s legacy, but implies that things have potentially only gotten worse.[119]
Post release[edit]
Home media[edit]
Seven was released on VHS, DVD, and Laserdisc in 1996.[130][131][132][133][134] A 2-disc special edition DVD released in 2000, introduced additional features including a remastered picture scanned from the original film negative, extended or deleted scenes, the original opening with Somerset and cut-to-black ending, production photos and designs, and storyboards for an alternate ending. The release also included four commentary tracks: Pitt, Fincher, and Freeman discussing Seven; a discussion between Fincher, De Luca, Francis-Bruce, Walker, and film studies professor Richard Dyer; Khondji, Max, Dyer, Francis-Bruce, and Fincher; and an isolated music and effects score with commentary by Shore, Klyce, Dyer, and Fincher.[134] The film was released on Blu-ray Disc in 2010, featuring remastered visuals and containing all of the additional content present in the special edition, with an additional collectible DigiBook version containing production notes and photo stills.[135][136]
The Seven soundtrack was released with the film in November 1995. The 11-track compact disc and cassette tape release contained several of the songs used in the film, such as «Guilty» and «In the Beginning», as well as two pieces of the score («Portrait of John Doe» and «Suite from Seven»), but omitted «Closer» and «The Hearts Filthy Lesson».[62][58][63] A bootleg recording of the score was released in the late 1990s, before an official debut of the full 16-piece score in 2016.[137][58]
Other media[edit]
A novelization of Seven, written by Anthony Bruno, was released alongside the film in November 1995.[138] A seven-issue comic book series, Seven, was released between September 2006 and October 2007 by Zenescope Entertainment. Serving as a prequel to the events of the film, the comic book focuses on Doe and the planning of his crimes.[139]
Legacy[edit]
Critical reassessment[edit]
Seven is now regarded as one of the best thriller,[o] crime,[p] and mystery films ever made.[q] Some publications have listed Seven among the greatest films of all time.[r] A 2014 poll of 2,120 entertainment industry professionals by The Hollywood Reporter ranked Seven as the eighty-fifth-best film of all time.[159] Review aggregator Rotten Tomatoes offers a 82% approval rating from the aggregated reviews of 85 critics, with an average score of 7.9/10. The website’s critical consensus says: «A brutal, relentlessly grimy shocker with taut performances, slick gore effects, and a haunting finale.»[160] The film has a score of 65 out of 100 on Metacritic based on 22 critics’ reviews, indicating «generally favorable reviews».[161]
Retrospectives have identified Seven as retaining its appeal over its peers due to its bleak, often imitated but rarely equalled ending, as well as Fincher’s story-focused directorial style.[30][20] Critic Matt Goldberg described Seven as timeless because of its stylized reality that is not linked to any particular time or place, and lack of popular culture references, advertisements, or focus on technology.[31] Discussing Seven‘s lasting positive legacy as a thriller, Walker said: «I know a lot of people hate Seven and think it’s just garbage, so it’s good to be humbled in that way. I’m really proud of it … Looking back at the time that’s passed, I feel extremely lucky that they never managed to make a sequel to it … I’ve been lucky that they’ve not managed to make a prequel to it, which, in my opinion, sucks all of the kind of meaning and energy out of who and what John Doe represents. I love that it’s still a standalone piece.[13] Seven is included in the 2013 film reference book 1001 Movies You Must See Before You Die,[162] and has been listed among Pitt’s and Fincher’s best films.[163][164]
Cultural influence[edit]
Seven helped Pitt’s transition into more serious and dramatic acting roles. He and Paltrow became romantically involved before the film’s release, and Pitt would work again with Fincher on films such as Fight Club (1999).[30][2][18][13] It also established Freeman as a mentor-type figure, an archetype he would reprise in many projects thereafter.[30] After the failure of Alien 3, Seven revitalized Fincher’s feature film career, establishing him among the most iconoclastic Hollywood directors of his generation; he would direct The Game (1997), Fight Club, and Panic Room (2002) over the next few years. Walker and Shore collaborated with Fincher on several other projects.[18][32][28][165][166] Describing the personal impact on himself, Walker said «ten years down the line, if nothing else got produced. I’d still have this great movie on video … when I’m run out of town, living my old age, running a miniature golf shop, I can always have what I’ve dreamt of having since I was very young.»[4] In a 2022 interview, MacKay (Sloth) said that he was still earning «healthy residual payments» for his role, and would occasionally be recognized in public by fans.[7] He said: «people still think they used a dummy in that scene … I get that a lot. But that was me.»[7]
Seven inspired many filmmakers, and is considered influential on crime-based films and television shows that replicated its grim aesthetic, body horror imagery, lighting, and premise of disenchanted detectives pursuing criminals with distinct killing methods and motivations, featured in Kiss the Girls (1997), The Bone Collector (1999), Along Came a Spider, The Pledge (both 2001), the Saw series (2003), and television series Prodigal Son (2019–2021).[167][30][140] Collider said Seven caused a resurgence in faith-based horror, supernatural, and apocalyptic mystery films.[140] The superhero film, The Batman (2022), shares similar style and tone with Seven, and publications such as Rolling Stone called it «part superhero blockbuster, part 1970s-antihero homage, and part Seven remake.»[168] Seven‘s use of alternative music by Nine Inch Nails is also seen as contributing to more mainstream use of similar songs in films such as Final Destination (2000), Lara Croft: Tomb Raider (2001), and Resident Evil (2002).[30]
The title credit sequence for Seven was called «one of the most important design innovations of the 1990s» by the New York Times.[61][68] Art of the Title described it as the beginning of a «renaissance in title design, particularly in the horror genre, and its influence was evident over two decades after Seven‘s release.[61] In 2011, IFC ranked the sequence as the third best ever made, behind those of Vertigo (1958) and A Hard Day’s Night (1964),[61] and its style can be seen in the opening credits of films such as The Bone Collector, Red Dragon, and Taking Lives (2004).[30]
The film’s twist ending is considered one of the best in cinematic history.[s] Pitt’s dialogue, «What’s in the box?», as he asks Somerset to confirm the contents of Doe’s box, has become iconic, used in popular culture and memes.[144][176][177][178][24] Walker said «[The twist is] one of the reasons I think Seven did well … because people went in and they did not know in the first ten minutes exactly how the movie was going to end.»[24] Although it is only implied that Tracy’s head is in the box, Fincher recalled an encounter with a woman who said, «‘There is no need to make a stand in of Gwyneth Paltrow’s head to find in the box. You don’t need to see that.’ And I said, ‘Well, we didn’t.’ And she said, ‘Oh yes, you did.’ So, the imagination, if properly primed, can do more than any army of makeup artists.»[26][31] John Doe has been named by several publications as one of the great cinematic villains.[179][180][181][182]
Sequel[edit]
A sequel, Ei8ht, was proposed by New Line Cinema in 2002, based on a repurposed spec script titled Solace by Ted Griffin about a psychic serial killer pursued by a similarly psychic detective, Somerset. The idea was eventually abandoned after principal Seven cast and crew, including Freeman and Pitt, expressed no intention to return for a sequel and Fincher said «I would be less interested in that than I would in having cigarettes put out in my eyes.»[t] The script was made into the standalone thriller, Solace (2015), which was a critical and commercial failure.[187]
References[edit]
Notes[edit]
- ^ Attributed to multiple references:[13][17][18][19][20][21]
- ^ Attributed to multiple references:[26][33][34][20][22]
- ^ Attributed to multiple references:[22][19][26][20][17][13][33]
- ^ Attributed to multiple references:[20][22][21][33][24]
- ^ The 1995 budget of $33–$34 million is equivalent to $58.7 million–$60.5 million in 2021.
- ^ The 1995 theatrical box office gross of $327.3 million is equivalent to $582 million in 2021.
- ^ Attributed to multiple references:[90][91][92][93][94]
- ^ Attributed to multiple references:[95][96][97][98][99][93]
- ^ Attributed to multiple references:[92][95][93][91][101][94][98][99][100][96]
- ^ Attributed to multiple references:[92][94][102][97][99]
- ^ Attributed to multiple references:[93][91][101][97][99]
- ^ Attributed to multiple references:[93][91][101][94][97][100]
- ^ Attributed to multiple references:[93][103][101][100][96]
- ^ Attributed to multiple references:[93][101][105][104][90]
- ^ Attributed to multiple references:[140][1][141][142][143][144][145]
- ^ Attributed to multiple references:[146][147][148]
- ^ Attributed to multiple references:[149][150][151][152][153][154]
- ^ Attributed to multiple references:[155][156][157][158]
- ^ Attributed to multiple references:[54][169][170][171][172][173][174][175]
- ^ Attributed to multiple references:[10][183][184][185][186][187]
Citations[edit]
- ^ a b Fowler, Matt (October 7, 2022). «The 12 Best Thriller Movies Of All Time». IGN. Archived from the original on October 12, 2022. Retrieved October 19, 2022.
- ^ a b c d e f g h i j k l Hruska, Bronwen (September 17, 1995). «Movies : Don’t Call Him Sexy : Ok, Brad Pitt Has An Undeniable Smoldering Presence That’s Fueling His White-Hot Career. But He Doesn’t Want To Talk About That Cheesy Stuff. Honest». Los Angeles Times. Archived from the original on August 2, 2021. Retrieved September 8, 2022.
- ^ Gaughan, Liam (September 14, 2021). «Ranking Morgan Freeman’s 20 Best Roles». /Film. Archived from the original on September 2, 2022. Retrieved September 10, 2022.
- ^ a b c d e f g h i Montesano 1996, p. 48.
- ^ a b Mirjalili, Fatemeh (May 17, 2022). «Brad Pitt Did Everything In His Power To Keep Seven‘s Ending Intact». /Film. Archived from the original on September 2, 2022. Retrieved September 10, 2022.
- ^ Wenzel, Zac (August 3, 2022). «R. Lee Ermey’s Best Performances, Ranked». MovieWeb. Archived from the original on September 11, 2022. Retrieved September 11, 2022.
- ^ a b c d e f g h i j k Alexander, Bryan (September 14, 2021). «Seven Turns 25: How Sloth, The Gnarliest Victim, Gave Brad Pitt And Morgan Freeman A Real Fright». USA Today. Archived from the original on September 10, 2022. Retrieved September 10, 2022.
- ^ Dyer 1999, p. 39.
- ^ «Se7en (1995)». British Film Institute. Archived from the original on November 9, 2022. Retrieved November 8, 2022.
- ^ a b c d e De Wolfe, Danielle (June 12, 2011). «30 Facts About Se7en«. ShortList. Archived from the original on October 26, 2022. Retrieved November 8, 2022.
- ^ a b c d e f g h i Ascher-Walsh, Rebecca (October 6, 1995). «The Corpse Stars Of Seven«. Entertainment Weekly. Archived from the original on September 2, 2022. Retrieved September 11, 2022.
- ^ a b Gray, Niall (April 30, 2022). «Se7en Ending Explained (In Detail)». Screen Rant. Archived from the original on May 3, 2022. Retrieved September 2, 2022.
- ^ a b c d e f g h i j k l m n o p q r Burns, Ashley; Schildhause, Chloe. «Seven Screenwriter Andrew Kevin Walker Looks Back At What’s Inside The Box, 20 Years Later». Uproxx. Archived from the original on October 21, 2022. Retrieved November 8, 2022.
- ^ a b c d e f g h «25 Deadly Serious Facts About Seven«. Yahoo!. September 18, 2015. Archived from the original on September 28, 2022. Retrieved November 8, 2022.
- ^ «George Christy, Veteran Hollywood Columnist, Dies at 93». The Hollywood Reporter. August 12, 2020. Archived from the original on November 8, 2022. Retrieved November 8, 2022.
- ^ Dyer 1999, p. 88.
- ^ a b c d e Meyer, Joshua (June 30, 2022). «How David Fincher’s Stubbornness Saved Seven’s Chilling Finale». /Film. Archived from the original on September 28, 2022. Retrieved October 25, 2022.
- ^ a b c d e f g h i Couch, Aaron (January 13, 2017). «Seven Screenwriter On How A Mix-up With David Fincher Led To Its Gutsy Ending». The Hollywood Reporter. Archived from the original on September 29, 2022. Retrieved October 25, 2022.
- ^ a b c d e f g h i «Movie Releases For September 1995». Entertainment Weekly. August 25, 1995. Archived from the original on September 28, 2022. Retrieved October 26, 2022.
- ^ a b c d e f g h i j k l m n Lambie, Ryan (September 22, 2019). «Seven: The Brilliance Of David Fincher’s Chase Scene». Den of Geek. Archived from the original on September 29, 2022. Retrieved October 26, 2022.
- ^ a b c d Montesano 1996, p. 49.
- ^ a b c d e f g h i j k l m n o Wilson, Sean (September 24, 2020). «Seven: 25 Facts To Celebrate The 25th Anniversary Of The Thriller Classic». Cineworld. Archived from the original on September 28, 2022. Retrieved September 25, 2022.
- ^ Montesano 1996, pp. 48–49.
- ^ a b c d e f g h i j k l m n o Smith, C. Molly; Robinson, Will (September 22, 2015). «Years Later, Why Seven Still Has One Of The Most Shocking Endings In Cinematic History». Entertainment Weekly. Archived from the original on September 2, 2022. Retrieved November 2, 2022.
- ^ a b c d Hawkes, Rebecca (September 23, 2015). «‘The Head Stays In The Box’: 7 Alternative Se7en Endings». The Daily Telegraph. Archived from the original on December 13, 2017. Retrieved October 25, 2022.
- ^ a b c d e f g Salisbury, Mark (January 18, 2009). «David Fincher». The Guardian. Archived from the original on September 26, 2022. Retrieved October 26, 2022.
- ^ Montini, Franco (June 12, 1995). «Cinema Is Divided By Penta». la Repubblica (in Italian). Archived from the original on November 27, 2022. Retrieved November 27, 2022.
- ^ a b c d e f g Ducker, Eric (September 21, 2020). «Dismantling The Myth Of David Fincher». The Ringer. Archived from the original on September 28, 2022. Retrieved October 25, 2022.
- ^ a b c d Rowles, Dustin (July 30, 2015). «Clarice Starling In Hannibal And Other Roles Christina Applegate Missed Out On». Uproxx. Archived from the original on September 28, 2022. Retrieved September 25, 2022.
- ^ a b c d e f g h Bradshaw, Paul (September 23, 2020). «Blood, Bodies And The Box: How Seven Changed Film And TV Forever». NME. Archived from the original on September 29, 2022. Retrieved October 25, 2022.
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Works cited[edit]
- Dyer, Richard (1999). Seven. London: British Film Institute. ISBN 0-85170-723-8.
- Horn, John (October 25, 1995). «Fall Box Office’s Lucky Number Is Surprise Seven«. The Tampa Tribune. Tampa, Florida: Tampa Media Group, Inc. Associated Press.
- Montesano, Anthony (February 1996). «Seven‘s Deadly Screenwriter: Andrew Kevin Walker On His Horrific Masterpiece». Cinefantastique. Vol. 27, no. 6. Forest Park, Illinois: Fourth Castle Micromedia. pp. 48–50. Retrieved September 25, 2022.
- Woods, Mark (November 20, 1995). «Seven Rolls To O’Seas B.O. Heights». Variety. Vol. 361, no. 3. New York City: Penske Media Corporation.
- Moir, Patricia (February 1996). «The Horror! The Horror!». Cinefantastique. Vol. 27, no. 6. Forest Park, Illinois: Fourth Castle Micromedia. p. 49. Retrieved September 25, 2022.
- Saunders, Matthew F. (February 1996). «Seven«. Cinefantastique. Vol. 27, no. 6. Forest Park, Illinois: Fourth Castle Micromedia. p. 55. Retrieved September 25, 2022.
- Schneider, Steven Jay (2013). «1990s». 1001 Movies You Must See Before You Die. Boston, Massachusetts: Murdoch Books Pty Limited. ISBN 978-0-7641-6613-6.
- «Seven Is Re-Released For The Holidays». San Francisco Examiner. San Francisco, California: Clint Reilly Communications. December 23, 1995.
- Taubin, Amy (January 1, 1996). «The Allure Of Decay». Sight and Sound. Vol. 6, no. 1. London: British Film Institute. pp. 22–24.
External links[edit]
- Seven at AllMovie
- Seven at Box Office Mojo
- Seven at IMDb
- Seven at Metacritic
- Seven at Rotten Tomatoes
- Seven at the TCM Movie Database
| Seven | |
|---|---|
|
Theatrical release poster |
|
| Directed by | David Fincher |
| Written by | Andrew Kevin Walker |
| Produced by |
|
| Starring |
|
| Cinematography | Darius Khondji |
| Edited by | Richard Francis-Bruce |
| Music by | Howard Shore |
|
Production |
Arnold Kopelson Productions |
| Distributed by | New Line Cinema |
|
Release date |
|
|
Running time |
127 minutes |
| Country | United States |
| Language | English |
| Budget | $33–$34 million |
| Box office | $327.3 million |
Seven (stylized as Se7en)[1] is a 1995 American crime thriller film directed by David Fincher and written by Andrew Kevin Walker. It stars Brad Pitt, Morgan Freeman, Gwyneth Paltrow, and John C. McGinley. Set in a crime-ridden, unnamed city, Seven‘s plot follows disenchanted, near-retirement detective William Somerset (Freeman) and his new partner, the recently transferred David Mills (Pitt), as they attempt to stop a serial killer before he can complete a series of murders based on the seven deadly sins.
Walker, an aspiring writer, wrote Seven based on his experiences of moving from a suburban setting to New York City in the late 1980s, during a period of rising crime and drug addiction. His script was optioned by an Italian film company which underwent financial difficulties and sold the rights on to New Line Cinema. Executives were opposed to the script’s bleak ending and mandated a more mainstream, upbeat outcome. Eager to prove himself after the failure of his first feature film project, Alien 3, Fincher read Walker’s original script which he was sent by mistake and agreed to direct as long as the ending remained. The studio continued its efforts to change the ending, but faced opposition from Fincher and the cast. On a $33–$34 million budget, principal photography took place mainly on location in Los Angeles. Rob Bottin helmed the special effects team responsible for realizing the elaborate murders, using makeup and prosthetics.
Seven received middling test audience results and was not expected to perform well due to its violent and mature content, but it went on to earn $327.3 million worldwide, becoming a surprise success and one of the highest-performing films of the year. Reviews were more mixed, with critics praising Freeman’s performance, but criticizing the dark cinematography, implicit and implied violence, and the bleak ending. Seven revitalized Fincher’s career and helped Pitt transition from roles based on his appearance to more serious, dramatic roles.
Seven is now regarded as one of the best thriller, crime, and mystery films ever made. It remains influential in filmmaking, inspiring a host of imitators of its aesthetic, style, and premise of detectives chasing down serial killers with distinctive methods and motives. The film’s title sequence, depicting the killer preparing for his actions later in the film, is considered an important design innovation and also influential on future credit sequences, while Seven‘s twist ending has been named as one of the best in cinematic history.
Plot[edit]
In a city overcome with violent crime and corruption, disillusioned police detective, William Somerset, is one week from retirement. He is partnered with David Mills, a short-tempered but idealistic detective who recently relocated to the city with his wife, Tracy. On Monday, Somerset and Mills investigate an obese man forced to eat until his stomach burst, killing him, and uncover the word «gluttony» written on the wall. Somerset fails to get himself and Mills reassigned to another case, believing it is too extreme for his last investigation. The following day, the second victim, greed, is found, having been forced to cut a pound of flesh from his body. Clues at the scene lead Somerset and Mills to the sloth victim, a drug-dealing pederast, who they find emaciated and restrained to a bed. Photographs reveal the victim was restrained for exactly one year. Somerset surmises that the murders are based on the seven deadly sins.
Tracy invites Somerset to share supper with her and Mills, helping the detectives overcome their mutual hostility toward each other. On Friday, Tracy meets privately with Somerset as she has no other acquaintances in the city. She reveals her unhappiness at moving there, especially after learning she is pregnant, and believes the city is an unfit place to raise a child. Somerset sympathises with Tracy, having convinced his former girlfriend to abort their child for similar reasons and regretting it ever since; he advises her to inform Mills only if she intends to keep the child.
A comment by Mills inspires Somerset to research libraries for anyone checking-out books based on the seven deadly sins, leading the pair to the apartment of John Doe. The suspect returns home unexpectedly and is pursued by Mills, who is incapacitated after being struck with a tire iron by Doe. Mills is held at gunpoint momentarily, but Doe chooses to flee. The police investigate Doe’s apartment, finding a large amount of cash, hundreds of notebooks revealing Doe’s psychopathy, and photos of some of his victims, including images taken of Somerset and Mills by what they believed was an intrusive journalist at the Sloth crime scene. Doe calls the apartment and speaks of his admiration for Mills.
On Saturday, Somerset and Mills investigate the fourth victim, lust, a prostitute raped with a custom-made, bladed strap-on by a man held at gunpoint. The pride victim is found the following day, a model who took her own life rather than live without her beauty, after being facially disfigured by Doe. As Somerset and Mills return to the police station, Doe arrives and turns himself in. He threatens to plead insanity at his trial, potentially escaping punishment, unless Mills and Somerset escort him to an undisclosed location where they will find the envy and wrath victims. During the drive there, Doe explains that he believes himself to be chosen by God to send a message about the ubiquity of and apathy toward sin. Doe has no remorse for his victims, believing the shocking murders will force society to pay attention to him.
Doe leads the detectives to a remote location, where a delivery van approaches. Somerset intercepts the vehicle and opens a package the driver was instructed to deliver to Mills at this specific time. Horrified at what he finds inside, Somerset tells Mills to put his gun down. Doe reveals that he himself represents envy because he envied Mills’ life with Tracy, and implies the package contains her severed head. He urges Mills to become wrath, telling him that Tracy begged for her life and that of her unborn child, and takes pleasure in realizing that Mills was unaware of the pregnancy. Despite Somerset’s pleas, the distraught and enraged Mills shoots Doe to death, completing his plan. As the catatonic Mills is taken away by the police, Somerset tells his captain that he will «be around.» A narration by Somerset says: «Ernest Hemingway once wrote ‘The world is a fine place and worth fighting for.’ I agree with the second part.»
Cast[edit]
- Brad Pitt as David Mills: A well-meaning but impulsive homicide detective[2]
- Morgan Freeman as William Somerset: A veteran police officer disillusioned with his job[2][3][4]
- Gwyneth Paltrow as Tracy Mills: Detective Mills’ pregnant wife[2][5]
- R. Lee Ermey as Police Captain: The detectives’ grizzled superior[6]
- John C. McGinley as California: A SWAT team leader[7]
- Kevin Spacey as John Doe: A serial killer inspired by the seven deadly sins[7][5]
- Richard Roundtree as Martin Talbot: The district attorney[8]
Seven also features Julie Araskog as Mrs. Gould, John Cassini as Officer Davis, Reg E. Cathey, Peter Crombie, and Richard Portnow as, respectively, Doctors Santiago, O’Neill, and Beardsley, Richard Schiff as Mark Swarr, and Mark Boone Junior as «greasy FBI Man.» Hawthorne James appears as George, the library night guard, Michael Massee portrays «man in massage parlour booth», Leland Orser plays «crazed man in massage parlour», Pamala Tyson portrays a thin vagrant outside Doe’s apartment,[9] and Doe’s delivery man is played by Richmond Arquette.[10]
Doe’s victims include: Bob Mack appears as Gluttony, a morbidly obese man force fed until his stomach bursts; Gene Borkan portrays Greed, a criminal-attorney forced to cut off his own flesh; and Michael Reid MacKay appears as the Sloth victim, Theodore «Victor» Allen, a drug dealer and child abuser.[11][12][7] Cat Mueller portrays the Lust victim, a sex worker impaled with a bladed sex toy, and Heidi Schanz appears as model Rachel Slade, Pride, who is disfigured by Doe.[11][12] Writer Andrew Kevin Walker makes a cameo appearance as a corpse investigated by Somerset during the film’s opening scene,[13] Freeman’s son, Alfonso, appears as a fingerprint technician, and columnist George Christy portrays the police department janitor scraping Somerset’s name from his door.[13][10][14][15][16]
Production[edit]
Writing[edit]
Andrew Kevin Walker, moved from the suburbs of Pennsylvania to New York City in 1986, and described the «culture shock» of living in a city undergoing a period of significant rises in crime and drug abuse.[13] While working as a sales assistant for Tower Records in 1991, the aspiring screenwriter began writing a spec script, Seven, set in a bleak and gloomy (unnamed) city inspired by his «depressing» time in New York.[a] Walker said, «it’s true that if I hadn’t lived there I probably wouldn’t have written Seven … I think it’s that way for anything—the right time and the right mood, and the right inspiration, whatever inspiration is. That’s what’s so scary about writing.»[22][19][21] Film studios were eager for high concept spec scripts, and Walker believed his thriller about police officers pursuing a serial killer driven by the seven deadly sins would attract attention and help begin a professional writing career.[20][19][22][13]
Walker intended to leave the narrative open to interpretation so as to not invalidate the opinions of his prospective audience. He wanted to defy the audiences’ expectations and leave them feeling «violated and exhausted» by the conclusion, because «there’s lots of evil out there, and you’re not always going to get the satisfaction of having any sort of understanding of why that is. That’s one of the things that scares people the most about serial killers.»[23] For the killer, Walker recounted his own experiences of walking down the city streets and observing crimes and sins being openly committed on every corner, and what would happen if someone was specifically focused on these sins.[13] He had Doe surrender himself to the police because it would rob the audience and characters of the anticipated satisfaction and make them uncomfortable leading into the finale.[24]
The script was optioned in the early 1990s by Italian company, Penta Film, under manager Phyllis Carlyle. Walker was paid the minimum fee allowed by the Writers Guild of America, which he described as not being «fuck you money,» but enough to quit his job, relocate to Los Angeles, and work on Seven.[18][19][13]
Development[edit]
To helm the project, Penta Film hired director Jeremiah S. Chechik, who had recently directed the successful comedy film, National Lampoon’s Christmas Vacation (1989), and was looking for a more serious project. However, Chechik and Penta Film mandated several script changes, including removing the bleak «head-in-the-box» ending, in which the decapitated head of Tracy is delivered in a box.[4][18][20][17][13] Given the option to refuse the requests and risk being replaced or the project cancelled, Walker acquiesced, writing a more mainstream ending in which the detectives confront Doe in a church, described as either burnt-out or actively on fire.[17][20][18] In this version, Doe embodies the sin of Envy and kills Mills before being shot dead by Somerset, while a pregnant Tracy leaves the city.[25][20][18] In a 2017 interview, Walker said he felt that he was ruining his script and should have left the project.[18] In total, he wrote thirteen different drafts to meet the studio demands.[26] The project failed to progress and as the option was expiring and Penta Film was experiencing financial difficulties (eventually dissolving in 1994), the studio sold the rights to producer Arnold Kopelson, who brought it to film studio, New Line Cinema.[18][19][20][27] Chechik also left the project, with Guillermo del Toro and Phil Joanou approached to replace him; Joanou turned it down because he found the story too bleak.[17][28][29]
David Fincher was mainly known for directing popular music videos, such as «Janie’s Got a Gun», «Vogue», and «Who Is It». His only feature film, Alien 3 (1992), had been a negative experience which tasked him with filming without a complete script, and its studio, 20th Century Fox, significantly modified the film in editing, against Fincher’s wishes. Fincher disowned the film, saying «I’d rather die of colon cancer than make another movie.»[30][31][32][4] Even so, his agent brought him the Seven script. Fincher was uninterested in the police procedural aspects but found himself drawn in by the gradual reveal of Doe’s plans, saying «I found myself getting more and more trapped in this kind of evil … and even though I felt uncomfortable about being there, I had to keep going.» He determined the script matched his own creative sensibilities, particularly its «meditation on evil and how evil gets on you and you can’t get it off,» and uncompromising ending in which «[Tracy’s] been dead for hours and there’s no bullshit chase across town and the guy driving on sidewalks to get to the woman, who’s drawing a bath while the serial killer sneaks in the back window.»[b] Fincher expressed his interest to the studio, and it was realized that he had been sent Walker’s original script. New Line Cinema sent Fincher a current draft in which Tracy survived, but he would only agree to direct the original script. He met with New Line Cinema’s president of production, Michael De Luca, who also preferred the original script and the pair agreed to start filming that version in six weeks, believing delaying any longer risked executives noticing their plan and interfering.[c]
Despite their efforts, Kopelson and studio executives made efforts to lighten Seven‘s tone and change the ending.[d] Fincher was resistant to any changes, unwilling to compromise his creative control or vision.[32][28] De Luca remained supportive of Fincher, and the original ending gained further backing as the project secured prominent actors, including Freeman, Pitt, and Spacey.[13][20][22][21] In particular, Pitt said he joined Seven on condition that the head-in-the-box ending be retained, and that Mills «[shoots] the killer in the end. He doesn’t do the ‘right’ thing, he does the thing of passion.» He was upset that the original ending to his previous film, Legends of the Fall (1994), had been cut in response to negative test audience results.[35][25] Kopelson was convinced to support Fincher after being reassured that the decapitated head would not be shown, saying «it needed this horrendous event to kick off the last sin, wrath,» that would be discussed for decades.[24][33] Walker said, «there’s nothing wrong with [positive] endings, it’s just that the dark ending of Seven was what it was about. To change the ending to something else was to remove the very heart of the story.[24][13]
Walker performed some script refinements, including extending a chase sequence depicting Mills cautiously pursuing Doe, aiming to avoid typical cinematic chases in which characters frantically pursued their target. He said, «I always thought, ‘God, if someone was shooting at me, I would be terrified to turn any corner!'»[20][36] A shooting script was completed by August 1994.[20][4]
Casting[edit]
Kevin Spacey (pictured in 2013) was a late addition to Seven as the studio did not want to pay his fee. Ned Beatty was offered the role of John Doe because of his resemblance to the 1969 composite sketch of the Zodiac Killer (right).
Pitt had established himself as a credible film star following successes with Interview with the Vampire (1994) and Legends of the Fall, but Fincher had not considered him to portray Mills because «I’d never seen Mills as particularly accomplished, and I was concerned that [Pitt] seemed too together. But when I met him, I thought, this guy is so likable he can get away with murder—he can do anything and people will forgive him for it.»[19][2][33] Conscious of Pitt’s popularity and importance to Seven‘s potential success, Kopelson shortened the pre-production schedule to five weeks from twelve to fit his schedule.[2] Pitt turned down several offers from other films because he wanted to escape his typecasting as a romantic lead character in favor of something with a more «documentary feel» with urban settings and a focus on dialogue, akin to thriller films such as The Conversation (1974).[2][19] He said, «I just wanted to escape the cheese … I came to find out [Fincher] had a lactose intolerance as well, so I was very happy about it.»[2] Pitt described Mills as a well-intentioned «idiot» who «speaks before he really knows what he’s talking about.» He cut his hair for the role and lost weight to reduce the muscle he developed for Legends of the Fall.[2] Sylvester Stallone and Denzel Washington turned the role down.[37][38][39][29]
Walker named the Somerset character after writer W. Somerset Maugham.[4] Walker envisioned William Hurt playing the character, but Fincher cast Freeman; the studio was concerned that pairing a black and white detective would make Seven seem derivative of the action film Lethal Weapon (1987).[40] Robert Duvall, Gene Hackman, and Al Pacino turned the role down.[4][22][41][42][43] The script was modified further after Pitt’s and Freeman’s castings to better match their acting styles; Mills was made more verbose, and Somerset’s dialogue was trimmed down, being made more precise and direct.[44] Robin Wright auditioned for, and Christina Applegate turned down the role of Tracy before Paltrow was cast. She was recommended by Pitt who had been impressed by her Legends of the Fall audition.[29][2][10] Fincher also preferred Paltrow, but was told by those involved that she would not be interested in a «dark» film like Seven. He auditioned about 100 people before Pitt contacted her directly to meet with them.[33] Fincher said Tracy is «so important because it’s the only sunshine we have in the film. This is the feel-bad movie of [1995] … we needed someone who could take those little seconds she gets and fill them with soul, and that’s what I’d always seen in her performances.»[2]
Fincher and Walker wanted Ned Beatty to play John Doe, because of his resemblance to the 1969 composite sketch of the Zodiac Killer; Beatty declined, describing the script as the «most evil thing I’ve ever read.»[45] Michael Stipe, lead vocalist of the rock band R.E.M., was considered but the filming dates conflicted with the band’s tour, Val Kilmer declined the role, and R. Lee Ermey auditioned, but Fincher said his portrayal was «completely unsympathetic» without any depth.[46][47][29] Kevin Spacey was preferred by Pitt, but executives refused to pay his salary.[45][22][13] Doe’s scenes were initially filmed with an unknown actor portraying Doe, but the filmmakers quickly decided to replace them and Pitt helped negotiate Spacey’s involvement. Spacey recalled, «I got a call on a Friday night, and on Monday morning I was on a plane to Los Angeles, shooting on Tuesday»; he filmed his scenes in twelve days.[45][22][13][48] Spacey wanted his name omitted from the film’s marketing and opening credits to ensure the killer’s identity remained a secret.[45][22][13][46][48] He said, «I’d just done Swimming With Sharks (1994), The Usual Suspects, and Outbreak (both 1995) … I knew that if any of those movies did well, my profile would be … different. How would that affect my billing in Se7en? If I’m the third-billed actor in a movie where the top two billings are trying to find somebody and they don’t find that somebody until the last reel, then it’s obvious who that somebody is. It was a bit of a shit-fight for a couple of days, but I felt very strongly that it was the right thing to do for the movie. We finally won because it was a deal-breaker; I was either going to be on a plane to shoot the movie or I wasn’t.»[48]
The 480 lb (220 kg) Bob Mack made his theatrical debut as Gluttony, described as a «very heavy guy face down in spaghetti.» Gene Borkan was cast to play the Greed victim because the filmmakers wanted someone who resembled lawyer Robert Shapiro. He did not realize his character would already be dead and refused a request to perform nude, telling Fincher «I’ll be naked if you’re naked. Otherwise, you don’t get that.» On the set, when he realized what his scene entailed, Borkan renegotiated his salary, receiving «five times [the $522 Screen Actors Guild day-scale fee].»[11] Michael Reid Mackay’s (Sloth) audition involved him portraying a corpse who slowly turned his head towards the camera; it was deemed «creepy» enough.[11][7] Set decorator, Cat Mueller, portrayed the Lust victim after Fincher’s assistant said she had the personality and body to portray a «dead hooker.» She received $500 for six hours of filming over two days, but described being nude in front of Pitt as a perk. Model, Heidi Schanz, was cast as the Pride victim after the previous actress dropped out. Running low on time, Fincher wanted a model with existing headshots and pictures that could be displayed in the character’s apartment. She said, «even though I’m dead, I think it’s the most glamorized murder.»[11] The film’s content made casting and crewing Seven difficult; Gary Oldman turned down an unspecified role, Fincher’s former costume designer declined to work on the film, and talent agents refused to pass offers on to their clients, describing Seven as «evil and misogynistic.»[28][33]
Filming[edit]
Seven was filmed mainly in downtown Los Angeles (pictured in 2016)
Principal photography began on December 12, 1994, and concluded on March 10, 1995.[49] Assistant director, Michael Alan Kahn, recalled the commencement of filming: «I went up to Fincher and I said, ‘Look at this! Look! It’s here! We’re here! You did it! We’re shooting a movie … isn’t this amazing? …’ And he looked at me as though I were from outer space and said, ‘No, it’s awful … now I have to get what’s in my head out of all you cretins.'»[28] Walker was on set throughout filming to provide suggestions or on-spec rewrites, but did not give Fincher much input, believing he should adapt the script as he wanted.[4]
Location shooting took place entirely in downtown Los Angeles.[22][50] Fincher wanted to shoot in Oakland, California, because it had «beautiful clapboard houses,» but the schedule would not allow for this.[50] The film’s near constant rain was a pragmatic decision, as Pitt was only available for a total of fifty-five days before he began filming 12 Monkeys (1995), and it often rained during filming so to avoid any continuity errors Fincher decided to have near-constant rain. He also believed it introduced an inescapable element for the characters, because conditions were bad inside and outside, and made it appear less like Los Angeles which was associated with sunny weather.[51][50][33]
Seven‘s aesthetic was influenced by films such as All That Jazz (1977), The Silence of the Lambs (1991), and The French Connection (1971), as well as the «vulnerable» over-the-shoulder viewpoint of documentary television show, Cops.[50][10] Cinematographer Darius Khondji also named the crime thriller, Klute (1971), as a significant influence because of its «use of toplight … widescreen compositions for intimacy rather than big vistas, the way that vertical strips of the city are shown in horizontal mode, the fragments of faces and bodies … the look of Se7en has this heightened sense of realism—a realism that’s been kicked up several notches and becomes its own style.»[52][26][50] Fincher singled out one scene in Klute, in which the only illumination is the character’s flashlight, saying he disliked other films where characters state that visibility is low but the audience can see the scene clearly.[26][50] Khondji used a mixture of lighting, such as the warm light of Chinese lanterns to represent the past and present, and the cold light of Kino Flos to represent the future.[52]
The studio was unhappy with how dark the dailies were; Khondji suggested printing the footage brighter, but Fincher refused to compromise. Available footage was made into a well-received promotional showreel for the theater owner convention, ShoWest, after which complaints about the darkness ceased.[52][26][50] Khondji used Panavision Primo lenses which offered a sharp image with good contrast, and Kodak film stocks which could capture the «gritty» interiors and deep blacks for night-time exteriors.[53]
The scene in which Mills pursues Doe was described by Khondji, as one of the most difficult scenes to film due to its length as well as fast camera movements in the rain or tight interior spaces that were barely lit. One segment had to be re-filmed because the location was too dark for the camera to capture Freeman’s face.[52] Pitt also insisted on performing his own stunts for the scene, and slipped on a rain-slicked car bonnet, crashing through the windshield and sustaining injuries including cut tendons and nerves in his left hand; Fincher said he saw exposed bone. He returned to the set a few days later, having received stitches and a forearm cast which had to be written into later scenes. For scenes set prior to the chase, Pitt would keep his hand in his pocket or otherwise obscured to hide the injury.[46][2][19][52] Pitt said he regretted not disrobing for a separate scene of Mills and Somerset shaving their chests to wear concealed listening devices. He disliked the public attention given to his body, but later came to believe that taking his shirt off would have conveyed the growing partnership between Mills and Somerset.[14]
The crew had to clear used condoms and crack pipes from the location of the Sloth victim sequence, replacing those with prop crack pipes and air fresheners.[52] The actors were not told the Sloth victim was a person in costume, and McGinley’s shock at the body moving was real.[7][22] Lights with green color gels were shone through the window from the adjacent building to give everything a green tint.[52] Leland Orser, who portrays the man forced to kill the Lust victim, deprived himself of sleep to achieve a «deranged mindset»; his scene was pushed back so he stayed awake another night. He would breathe rapidly between scenes to make himself hyperventilate on camera.[14] The ending was scripted to take place directly beneath transmission towers, a location picked by Doe to interfere with the police communications, but it actually interfered with the film crew radios, and the actors had to use cell phones to communicate with the crew from afar.[46]
Ending and post-production[edit]
The ending remained a point of contention between New Line Cinema and the filmmakers. Fincher wanted to follow Mills shooting Doe with a sudden cut to black, intending to leave the audience stunned, but executives believed this would alienate audiences.[25][54][35][24] Fincher instructed staff at a test screening to keep the lights off following the cut to black so the audience could take it in; his instructions were not followed. Afterward, one female audience member walking by Fincher said, «the people who made that movie should be killed.» Fincher said the screening invitation said, «Would you like to see a new movie starring Brad Pitt and Morgan Freeman,» both known for films very different in tone to Seven, «I don’t know what the fuck they thought they were gonna see … but I’m telling you, from the reaction of the people in there, they were bristling. They couldn’t have been more offended.»[46] Executives wanted a mainstream conclusion in which Mills and Somerset pursue Doe and a kidnapped Tracy, who would survive. Pitt recalled, «[the studio says] ‘You know, he would be much more heroic if he didn’t shoot John Doe—and it’s too unsettling with the head in the box. We think maybe if it was [Mills’] dog’s head in the box.'» Freeman preferred a storyboarded sequence of Somerset killing Doe, sparing Mills from losing his career as well, but Pitt believed Mills had to kill Doe and test audiences preferred that version. Another alternative depicted Mills shooting Somerset to stop him killing Doe before he could. Fincher and Pitt refused to compromise on the head-in-the-box ending but settled for a longer epilogue showing Mills being arrested and Somerset delivering a concluding narration offering some optimism.[25][54][35][24][46]
Pitt and Fincher were unhappy with the car ride scene leading into the ending because the dialogue had to be dubbed over as too much ambient sound had been picked up during filming. Pitt believed this caused the scene to «lost its breath,» affecting the pacing and emotion. The helicopter scenes were also filmed in post-production as there was no time during principal photography, but the studio agreed extra time and funding if the scenes were deemed necessary. Filmed several months later, the green ground had turned brown and so the ground-based scenes had to be color corrected to match the new footage.[46] The opening credits were scripted to be set over footage of Somerset visiting a countryside home he intended to purchase for his retirement, taking a piece of the wallpaper that he would carry through the film, before returning to the city by train. This was intended to create a stark contrast between the countryside and the darkness of the city, but there was insufficient budget to film it. Scenes of Somerset looking at the wallpaper piece had to be cut as a result.
Richard Francis-Bruce edited the 127 minute theatrical cut.[55][24] His style focused on «having a motivated cut,» believing every cut needed to be done with a specific purpose. For the finale, he introduced more rapid cuts to emphasize the tension as Doe’s plan is revealed, and a brief four frame insert of Tracy as Mills pulls the trigger, to compensate for not showing the contents of the box.[24] To emphasize the darkness, Fincher and Khondji used an expensive and lengthy bleach bypass chemical process which retained more of the silver present in the filmstock which would normally be lost. The silver created a luminous effect in lighter tones and deeper darker colors.[22][30][50] Of the 2,500 prints sent to theaters, only a few hundred used the process.[50]
Seven was budgeted at $30–$31 million, but Fincher convinced studio executives to provide further funding to achieve his vision for the film, eventually pushing it $3 million over budget, to a total of $33–$34 million, making it New Line Cinema’s most expensive film at that point.[20][4][33][56][34][57][e] A studio employee said studio executives «would go into these meetings with [Fincher], saying, ‘Absolutely not, not a penny more’ … but he was so relentless and persuasive that they’d come out all ga-ga-eyed, and give him more money.»[56] About $15 million of the budget was spent on below-the-line costs.[34][57]
Music and sound[edit]
Fincher hired Howard Shore to score Seven, based on his score for The Silence of the Lambs.[58] Shore said Fincher would attend recording sessions but rarely interfered with Shore’s process.[28] Performed by an orchestra of up to 100 musicians, the score combines elements of brass, percussion, piano, and trumpets. «Portrait of John Doe» serves as the central theme with two cue notes; a rising version is used for Tracy’s appearances.[58][59][24] Shore described the film’s ending as having a «visceral, kind of primal effect on me.» He incorporated his reaction into the sequence’s score, providing little accompaniment during the dialogue between Mills, Somerset, and Doe, but using it to punctuate significant moments such as Somerset opening the box. Shore said «the music starts, and it turns the scene, it turns it into John Doe’s perspective … the music enters, and you realize, the look of the horror on his face, it’s a chilling moment.»[24]
Shore’s opening theme, «The Last Seven Days», described as a more «upbeat» piece, was replaced by a remix of industrial rock band Nine Inch Nails’s «Closer» by Coil and Danny Hyde.[58][60][61] David Bowie’s «The Hearts Filthy Lesson» is used for the end credits.[62][58][63] Seven features songs including: «In the Beginning» by The Statler Brothers, «Guilty» by Gravity Kills, «Trouble Man» by Marvin Gaye, «Speaking of Happiness» by Gloria Lynne, «Suite No. 3 in D Major, BWV 1068 Air» by Stuttgarter Kammerorchester and Karl Münchinger, «Love Plus One» by Haircut One Hundred, «I Cover the Waterfront» by Billie Holiday, «Now’s the Time» by Charlie Parker, and «Straight, No Chaser» by Thelonious Monk.[59]
Fincher hired his friend Ren Klyce as sound designer. They inserted sounds on the outside of each frame, such as raining or screaming, to create a psychological impression that terrifying things are occurring even when the audience cannot see or escape it. Klyce and sound designer Steve Boedekker also produced the music heard at the entrance to the Lust murder sex club.[64][65]
Design[edit]
Style and set design[edit]
Fincher, Khondji, production designer Arthur Max, and costume designer Michael Kaplan, collaborated on establishing a unified vision for the art direction.[52] Fincher established the design rules for the film: «This is a world that’s fucked up and nothing works.» He wanted every design aspect to look neglected and in a state of decay.[28] Fincher was influenced by the photography of William Eggleston, focused on «coolness», making the visuals simultaneously gritty and stylized as well as classic and contemporary, and the black-and-white photographs of Robert Frank. Khondji said Frank’s style could be seen in Seven‘s very bright exteriors and dark interiors. Many interior scenes were underexposed to create a stark contrast, which in turn made the exteriors stand out more. Interior lighting was also often provided by external sources, using only a few interior artificial lights. The end scene with Mills, Somserset, and Doe, featured inconsistent lighting because the actors were always lit from behind by the sun regardless of where they were standing in the scene, which Khondji described as «a bit of a nightmare and never realistic in terms of continuity.»[52]
Fincher wanted precise staging for every scene to make the audience feel as if they were in the location. He had sets built without removable walls so that they had to film within the confined of the sets, believing it was important to create limitations to challenge himself.[50] Doe’s murder scenes were influenced by photography, such as the work of Joel-Peter Witkin.[52] The «gluttony» set was wrapped in plastic to contain the cockroaches and a cockroach wrangler was used to help control them.[14] The Sloth scene, in particular, took influence from the work of painter Edvard Munch, drawing on the green and «claustrophobic» imagery.[52] The «Lust» sex club ceilings were lowered to make the space more claustrophobic and was sprayed on the walls for texture and to imply that they were covered in bodily fluids. A former bank was used as the library and 5,000 books were rented to fill the space, supplemented with fiberglass replicas. The shaking in Mills apartment, caused by a passing train, was created using gas-powered engines attached to the set. Walker’s script described Doe’s home extensively, with windows painted black for privacy and a drawer filled with empty painkiller bottles to help Doe cope with regular headaches.[14]
Victims[edit]
Rob Bottin led development of practical effects. He researched crime scene photos and police evidence files, observed an autopsy, and studied the effects of obesity to realize his designs.[66] For the Gluttony victim, Mack spent up to 10 hours a day having makeup and prosthetics applied. A scuba-like device was used to let Mack breathe while facedown in spaghetti.[14][46] Mack recalled how he was unaware that he would be surrounded by live insects until reading the daily call sheet and noticing a «cockroach wrangler»; Pitt would flick some roaches off of Mack between takes.[11] The character’s autopsy used a fiberglass replica with a deliberately enlarged penis; Fincher said after Mack spent so long in makeup for 30 seconds of screentime, that he could «at least give him a huge cock.»[14][46]
Bottin’s team spent eleven days experimenting on the right aesthetic and prosthetics for the Sloth victim portrayed by MacKay.[7][66] MacKay was 5.5 ft (170 cm) tall and weighed only 96 lb (44 kg) to 98 lb (44 kg) during filming, offering a slight frame for the emaciated character. The filmmakers asked him to lose more weight but he declined.[11][7] The effects team made a body cast of MacKay to develop rubber prosthetics that could be applied all over his body. The appliances were painted to appear bruised and scarred, veins were airbrushed onto MacKay, and he was fitted with gelatin sores, overgrown fingernails, skeletal teeth, and matted hair. The process took up to 14 hours, requiring MacKay to begin at 5am for filming at 8pm. He was brought to the set in costume, and Freeman quipped, «you don’t look so good.»[7][66] He described filming the scene as «real heavy-duty,» and was left «breathing very hard and crying.»[11][7] He had to remain relatively still over four hours of filming, having to limit his breathing to prevent his stomach rising and falling, and the cold set was worsened by makeup artists repeatedly spraying his body with water. Unable to move, he tensed his muscles to warm himself. He described the moment he was permitted to cough in McGinley’s inspecting face as a «great relief,» as he could move and breathe again.[67]
For Schanz’s Pride victim, Fincher personally added blood to her, while her nose was taped to the side and her face covered in gauze.[11] To secure the film’s release, several scenes of Bottin’s effects work had to be cut.[66] Fincher described Seven as psychologically violent, implying violence without showing it in action.[50] Walker portrays the opening scene corpse, lying in a pool of blood. He said the blood was very cold, and had a minor panic attack once in place because he was worried about moving and ruining the shot.[13]
Title credits[edit]
Following the removal of the planned opening train ride with Somerset, Fincher needed a temporary title sequence to screen Seven for studio executives.[22][68][60][61][36] He recruited R/GA designer, Kyle Cooper, and his team to assemble a montage slideshow reflecting Doe’s perspective. This helped establish the character and his threat earlier in the film as he would not physically appear until Seven‘s final act.[22][68][61][36] The sequence was set to the «Closer» remix at Fincher’s request.[68][61]
The sequence was well received by executives who suggested retaining it for the theatrical release. Fincher did not want to appear as if he was accepting their suggestion and instructed Cooper to develop a new concept; Cooper convinced Fincher to use a more elaborate and detailed version of his slideshow.[68] Cooper focused on Doe’s elaborate journals, glimpsed briefly in the film, while Fincher suggested the sequence physically involve Doe.[68][36] Fincher wanted Mark Romanek to direct the sequence, being a fan of his music video for «Closer» and sharing similar design sensibilities, but Cooper secured the role because of his previous experience on similar title sequences.[68][61] Fincher told Cooper, «all I want is for the audience to want to run screaming from the theater during the title section.»[60]
The sequence depicts Doe’s preparations and routines for his murderous plans, such as cutting off his fingertips, processing photographs in his bathtub, and making tea (inspired by Cooper’s appreciation for the «elegant» way Doe stirs his tea following his surrender). As Doe writes in his journals, the sequence focuses on him crossing out words such as «pregnancy,» «marriage,» and other elements representing concepts of a «perfect life» that he does not believe people deserve.[68][60] Fincher said, «it was a way of introducing the evil. The idea was that you’re watching title sequences from the mind of somebody who’s lost it … [the audience] won’t understand while they’re watching it, but they’ll get it later.»[60] Doe’s journals were made by Clive Piercy and John Sabel, and cost tens of thousands of dollars to fill each one with text and images; about six complete journals were made, supplemented by blank ones on the shelves.[68][61][60] Artist Wayne Coe storyboarded the sequence, which was edited by Angus Wall and shot by Harris Savides.[61] Cooper regularly conferred with Wall on ideas, and spent the night before filming locating items that he believed would make interesting inclusions such as fish hooks and loose hairs from his drain.[68]
Filming took place over eight days, including two days filming a hand model stand-in for Doe.[60][36] Fincher was upset at the casting as the model’s hands were shorter and chunkier than Spacey’s.[60][68] A further five weeks were spent putting the sequence together.[68] Although digital options were available, Cooper’s team opted to assemble the sequence by hand, believing that any irregularities and accidents in the images incurred would enhance the overall aesthetic, and added manual scratches, tears, and pen marks direct to the film negative.[69][61] Fincher and Cooper devised a rough-looking text for the credits to appear as if written by a «disturbed hand.» Fincher said: «I always liked the idea that the titles would be written by Doe, hand-lettered … [Cooper and I] wanted to have them look personal, not typeset. I liked that it wasn’t slick.»[60][61][68] The text was etched onto a black-surfaced scratchboard and visually manipulated while being transferred to film to add a smear effect combined with different variants of the same text achieved by placing the text over a light box and filming them over-exposed, creating an animation-style effect.[61][68] «Disquieting» sounds were added throughout the sequence at a low frequency, such as barking dogs and screams. The title sequence cost $50,000.[60][61]
Release[edit]
Context[edit]
The theatrical box office of 1994 had achieved record grosses, with nine films earning more than $100 million, and the highest attendance (1.29 billion) since 1960 (1.3 billion). However, by 1995, the average cost of making and marketing a film had doubled since 1990, reaching $50.4 million, making it more difficult to turn a profit.[70][71] The rising salary cost of actors was a contributing factor, as studios vied to secure popular actors, such as Harrison Ford, Jim Carrey, Tom Cruise, and Arnold Schwarzenegger, who could generally guarantee a minimum level of box office success and held broad appeal outside of the United States (U.S.) and Canada.[71] If notable stars were unavailable, studios were forced to pay exorbitant salaries for lesser stars and pay other cast lower salaries to offset the costs.[71] The 1995 theatrical box office was in a downturn, the first quarter being about $90 million lower than the same period in 1994. Markets outside of the U.S. and Canada were growing, accounting for 41% of a film’s total revenue, including theatrical and home media profits, and outperforming the U.S. and Canadian box offices for the first time in 1994.[70] Anticipated films such as Batman Forever, Crimson Tide, and Pocahontas, were scheduled for release alongside the most expensive film of its time, Waterworld,[72][70] but New Line Cinema had low expectations for Seven, based on middling scores from test audiences.[73]
Marketing[edit]
New Line Cinema’s marketing president, Chris Pula, called the advertising campaign «risky» because it had to «prepare people» for Seven‘s violent and dark content while making it a topic of discussion among potential audiences.[74] Early trailers and newspaper, television, and radio advertisements focused on the seven sins, presenting Seven as an «edgy» prestige film instead of a jumpscare-style horror. Entertainment professionals also believed violent or horrific films had a limited appeal and rarely received positive reviews. Fincher’s public image had also been tarnished by the failure of Alien 3, and although Freeman and Pitt were proven stars capable of attracting audiences, New Line Cinema struggled to capitalize on Pitt’s popularity. His core audience, teenage girls, were not the target audience for Seven, and research showed that young men would avoid taking a romantic partner to films featuring him because they felt «threatened» by his appeal. The positive word-of-mouth following Seven‘s theatrical release led the marketing campaign to shift focus toward targeting Pitt’s female fans.[73]
The premiere of Seven took place on September 19, 1995, at the Academy of Motion Picture Arts and Sciences in Beverly Hills, California. The event featured over 800 guests, including Fincher, Freeman, McGinley, Spacey, Tia Carrere, Elliott Gould, Matthew Modine, Lori Petty, Lou Diamond Phillips, Michael Rapaport, Eric Roberts, Robert Rodriguez, Steven Seagal, John Singleton, Christian Slater, Quentin Tarantino, and Jennifer Tilly.[75]
Box office[edit]
Seven was released in the United States and Canada on September 22, 1995.[76] During its opening weekend, Seven earned $14 million across 2,441 theaters—an average of $5,714 per theater—making it the number 1 film of the weekend, ahead of the debut of Showgirls ($8.1 million), and To Wong Foo, Thanks for Everything! Julie Newmar ($4.5 million), in its third week of release.[76][77][78] It became the highest-grossing opening September weekend of its time, replacing 1991’s Freddy’s Dead: The Final Nightmare ($12.6 million).[79] The successful opening was credited to the marketing campaign overcoming audience scepticism, as well as, in part, Pitt’s popularity with males and females, although the opening audience skewed more male, as well as lack of competing action films. New Line Cinema distribution executive, Mitch Goldman, had moved up the release date of Seven to avoid this competition as well as strategically opening the film in more theaters than usual to target suburban and small-town locations where Pitt’s recent films had fared well.[79][73][74]
The film remained number 1 in its second weekend, ahead of the debuts of Halloween: The Curse of Michael Myers ($7.3 million) and Devil in a Blue Dress ($5.4 million), and in its third weekend ahead of the debuting Assassins ($9.4 million) and Dead Presidents ($8 million).[80][81] Seven remained the number 1 film until its fifth weekend, falling to number 3 behind the debuts of Get Shorty ($12.7 million) and Now and Then ($7.4 million), and was among the top ten-highest-grossing films for nine weeks.[74][82][83][76] Seven had grossed about $87 million by the end of December, when it received a wide re-release in select locations to raise the film’s profile during the nomination period for the 1996 Academy Awards.[84] The re-release helped raise Seven‘s box office to about $100.1 million, making it the ninth-highest-grossing film of 1995, behind Casper ($100.3 million), Jumanji ($100.5 million), GoldenEye ($106.4 million), Ace Ventura: When Nature Calls ($108.4 million), Pocahontas ($141.6 million), Apollo 13 ($173.8 million), Batman Forever ($184 million), and Toy Story ($192.5 million).[76][85] Estimates by industry experts suggest that as of 1997, the box office returns to the studio—minus the theaters’ share—was $43.1 million.[86]
Seven also performed well outside of the U.S. and Canada, receiving positive audience reactions and successful debuts in countries such as Australia ($1.8 million), South Korea ($808,009), Seoul ($961,538), New Zealand, and the Netherlands.[87] Seven is estimated to have earned a further $227.2 million, giving it a total worldwide gross of $327.3 million, and making it the seventh-highest-grossing film worldwide, behind Apollo 13 ($335.8 million), Batman Forever ($336.5 million), Pocahontas ($347.1 million), GoldenEye ($356.4 million), Toy Story ($365.3 million), and Die Hard: With a Vengeance ($366.1 million).[76][88][32][f] Seven became one of the year’s most profitable films,.[89] Seven was an «unexpected success» and became «one of the most successful movies of the year.»[74]
Reception[edit]
Critical response[edit]
Critics such as Ebert and Howe described Seven as an intelligent and well-made film that could comfortably stand alongside other thrillers.[g] Others compared Seven unfavorably with The Silence of the Lambs and The Usual Suspects, believing it lacked the same intelligent narrative, and took itself too seriously as an examination of evil instead of a «silly piece of pulp.»[h] The Orlando Sentinel said, however, that Seven did offer a «terrific film-noir atmosphere» and excellent performances, with The Seattle Times saying that the film would be «unendurable» without Freeman and Spacey.[100][101]
Critics unanimously praised Freeman’s performance.[i] Terrence Rafferty and Kenneth Turan wrote that Freeman’s «exceptional» performance was mainly responsible for making Seven watchable in spite of itself.[91][98][101] Desson Howe and James Berardinelli said the performance elevated Pitt’s own to appear «actorly,» although Freeman often stole every scene in which he appeared, providing a fresh take on an otherwise cliché role.[92][93][94][100] Reviews of Pitt’s performance were polarized between those who found it «energetic» and impressive, and those who believed the role was beyond his acting abilities.[j] Some reviewers found his performance to continue his successful transition to more serious roles from those based mainly on his appearance,[102][94][96] although Howe said Pitt’s presence did more for Seven than his acting.[92] The Orlando Sentinel said what could have been a cliché role was saved by Mills not being inept or inexperienced, just out of his depth on this particular case.[100] Some reviews said that the character was underdeveloped, pointless, stupid, and not particularly likeable, and that Pitt’s performance lacked the subtlety or effectiveness to compensate.[k] Critics positively received Paltrow’s performance, believing she made the most of her limited screentime and was generally underutilized, while considering the character a «flimsy contrivance».[l] Spacey’s performance was also praised for its creepy and understated portrayal of an intelligent character who does not undermine themselves with «a moment of sheer stupidity.»[m]
Fincher’s directorial style was praised for its «striking craftmanship», and «stunning» visuals that often thrilled and exasperated the viewer simultaneously.[94][96][92][103] In contrast, Rafferty said that his style was less effective stretched over the film’s runtime and that Fincher mistook darkness for profundity and chose style over coherence.[98][101][95][91] Although Siskel considered Walker’s script to be smartly written,[104] several critics were less enthusiastic, finding the dialogue trite, many scenes implausible, and character motivations weak.[103][101][100] Jami Bernard and Richard Schickel wrote that Seven lacked many of the essentials prevalent of its genre such as suspense, witty dialogue, and cathartic humor, or the psychological depth to match the intellectual thrills of its peer, The Silence of the Lambs.[97][101][105]
The violent content of Seven was generally negatively received.[74] Critics such as Berardinelli and Gene Siskel found the gore excessive and «gratuitous».[n] While some found the violent visuals to be tiresome and detracting, others believed that Fincher skilfully avoided showing the violence that led to the deaths, preventing them from distracting from Seven‘s more enjoyable aspects.[93][100][96] Even so, Ebert and Turan believed Seven would be too disturbing for many viewers.[90][91] Fincher responded, «I didn’t set out to piss off the people who are upset. I was told that Michael Medved [film critic at the New York Post] wrote that the movie was evil, but I’m sure he slows down when he passes an accident just like everyone else. Death fasicnates people, but they don’t deal with it.»[50] Howe and Owen Gleiberman felt the ending was «like an act of treachery against the viewer,» undermining any hope for a positive outcome,[92][96] and Barry Norman said it denied the audience «even of the final comfort they fully deserve.»[106] Roger Ebert, however, found the ending to be «satisfying,» but underwhelming compared to the film’s earlier events.[90] Audiences polled by CinemaScore gave the film an average grade of «B» on a scale of A+ to F.[73][107]
Accolades[edit]
Seven received one nomination at the 68th Academy Awards for Best Editing (Richard Francis-Bruce),[32][108] and Walker was nominated for Best Original Screenplay at the 49th British Academy Film Awards.[109] At the MTV Movie Awards, Seven received three awards, Best Movie, Most Desirable Male (Pitt), and Best Villain (Spacey).[110]
Thematic analysis[edit]
Apathy and hope[edit]
The apathy of the unnamed city’s inhabitants is a central theme in Seven.[31][111][24] Somerset does not believe the city can be saved, intending to retire outside of its confines, and telling Mills that women are taught to yell «fire,» not «help,» because people are more likely to pay attention if they selfishly think themselves in danger.[112][111] Taubin described the city as an infection point for corruption, where signs of violence and decay are omnipresent in its dark corners and rain, as well as the television reports, fights, screams, and children in impoverished apartments. Dyer compared the near ubiquitous rain to films such as Blade Runner (1982), as a constant, near inescapable presence, which in Seven can represent sin seeping into every gap. The bleak aesthetic of the city implies a layer of moral decay and indifference by its inhabitants, that enables Doe’s plan.[89][112][113][114][33] Somerset has not stopped caring, but he has become as apathetic as those around him because of the futility of his efforts. Seven reinforces this in several scenes, such as when his concerns that a child witnessed a murder are dismissed, the police captain’s indifference to a mugger needlessly stabbing out his victim’s eyes, and the sex club manager who dislikes his role but sees no alternative.[31][115] Even so, Somerset tries to spare Tracy from the influence of the city by advising her to leave with her unborn child.[111][24]
Somerset and Doe both perceive the ubiquity of sin and indifference toward it. There are parallels in how both men live alone, are devoted to their work, and do not have any meaningful relationships. Although there is mention of Somerset’s former partner and some degree of respect with his colleagues, he tells Tracy that «anyone who spends a significant amount of time with me finds me disagreeable.» Doe’s apartment is a reflection of his own isolation from society.[111][115] They differ, however, in their response to sin: Somerset has surrendered to apathy and sorrow, while Doe feels contempt for society and has assumed a role as their punisher.[116][111] It is implied that Somerset was once passionate about his work until he realized he could not change things, while Doe is dedicated and passionate, believing wholeheartedly in the change his work will bring.[111] Somerset has never killed anyone, and retains a spark of hope that humanity can be better, while Doe kills freely, believing humanity is beyond saving. When Mills tells Doe he is killing innocent people, Doe replies, «only in a world this shitty could you even try to say these were innocent people and keep a straight face. But that’s the point. We see a deadly sin on every street corner, in every home, and we tolerate it. We tolerate it because it’s common, it’s trivial. We tolerate it morning, noon, and night. Well, not anymore.»[111][24][116]
Mills and Somerset are contrasting characters in terms of temperament, morality, intelligence, and personal connections.[117] Somerset is analytical, wise, experienced, and meticulous, while Mills is young, messy, and inexperienced, but full of potential.[115][118] Mills is optimistic and relatively light-hearted, choosing to move to the city because he believed he could have a positive influence until everything is taken from him.[111] Goldberg wrote that Mills and Tracy are naive to the city’s corruption, demonstrated by how they are tricked into renting an apartment that experiences constant shaking from nearby trains.[31][111][119] Dyer said Tracy, in particular, represents potential virtue, but as she is used infrequently to conceal her eventual fate, her impact is reduced.[120]
Doe’s plan does work, shocking Somerset out of his apathy and inspiring him to defer his retirement and fight for a better future.[111] Walker said of the ending, «it’s about «optimist Mills» … going up against this pessimistic kind of world-weary detective in Somerset … those dramatically opposed points of view are pushing and pulling each other throughout the story. And then once pessimism is confirmed, even to the optimist who’s been arguing that the fight is always worth fighting, will the pessimist in the light of confirmation of all his worst predictions, will he stay or will he walk away?»[13] Rosenbaum described it as a «touching, old-fashioned faith in the power of good to reassert itself,» tempered by the fact the hope is inspired by a self-martyred serial killer. He criticized that Seven chose style over substance, giving the overall message that we «remain exactly where we are.»[34] Dyer compared Doe to Hannibal Lecter in The Silence of the Lambs, in terms of ability to outthink and manipulate the authorities combined with his artistic method of arranging his murders, but that they are contrasted by their different social statuses, Lecter being an educated professional and a preference for luxury, while Doe is seemingly self taught, unemployed, and obsessed only with his mission.[121] However, Rosenbaum said that unlike The Silence of the Lambs, Seven did not «exploit its psycho killer for cheap laughs or blind hero worship.»[117] Nayman found Seven problematic, believing it did venerate Doe as having a valid criticism of society.[34]
Religion and order[edit]
Doe’s murders are described by Somerset as his sermons to the masses.[122] Dyer and Saunders describe Doe as conducting a violent crusade demonstrating the consequences of moral decay and sinning, based on his own interpretation of Christian ideology, in a city compared to the biblical Sodom and Gomorrah.[123][124] Writer Patricia Moir said that theorists in the late 1990s believed a growing trend in North America resulted in the decay of social meta narratives of order created by religion, science and art, in turn diminishing societal norms, and that in absence of these paradigms, all that remained was the chaos of existence.[119] Somerset tries to create order using the ticking of a metronome to disguise the disordered noise of sirens and screams outside his apartment.[119][125] Dyer wrote that Somerset smashing the metronome is him acknowledging he can no longer ignore the darkness of the city.[126] Doe creates order by filtering literature about the seven deadly sins and works by authors such as John Milton through a lense of religious fanatacism.[119] He believes his purpose is given by God, which is reflected in the opening credits depicting Doe cutting the word «God» from a dollar bill; Kyle Cooper said, «I hesitated on that one but decided to do it because John Doe took it on himself to play God.»[60]
Doe rationalizes that everyone is guilty of sin or wishing ill on other sinners.[119][124] According to Dyer, Doe is conscious he is also a sinner and so his plan involves his own death.[123][127] Goldberg wrote that Doe is the true sin of wrath, evidenced by his violent acts, but to complete his plan he must make Mills «become» wrath, and gives himself the sin of «envy». His resigned acceptance of the sin is, according to Goldberg, because there is no other sin for him to take and he is conscious that sins will not end with his death. Doe transferring wrath to Mills also demonstrates the infectiousness and pervasiveness of sin.[31] When Mills kills Doe it can be considered an act of good and justice, eliminating a remorseless force of evil, but he commits the act purely for revenge.[31] Film professor Richard Dyer suggests that Doe did not know how to conclude his plan until meeting with Mills while disguised as a photographer, during which Mills displays his wrath.[14] Writer Shaina Weatherhead believed Seven foreshadows the importance of the wrath and envy sins throughout, identifying the color red as representing wrath and green representing envy, colors which appear often: Somerset has a red lamp, Mills drinks from a green mug, and there are background green buildings with red address numbering.[118]
Seven features subtle references to the number seven, reinforcing the religious subtext, such as the Doe’s plan culminating on Sunday, the seventh day of the week and the biblical day of rest, on which Doe’s package for Mills is delivered at 7:01pm.[128] In researching Doe, Somerset references material including «The Parson’s Tale» by Geoffrey Chaucer, which discusses penance, Dante Alighieri’s Divine Comedy and its seven terraces of purgatory, a Catholic dictionary, and a reference to seven children being slain.[129] There are also references to art in Seven such as a stack of spaghetti cans resembling Campbell’s Soup Cans by Andy Warhol. Journalist Kim Newman considered each of Doe’s kills to be arranged as an artistic piece dedicated to each sin.[127] Commentary appears on the excesses of performance art and culture of celebrity, with Mills referring to Doe as a «movie of the week» and a «fucking T-Shirt», implying his legacy will be brief before fading into obscurity. Moir said that Seven provides no final answers about Doe’s legacy, but implies that things have potentially only gotten worse.[119]
Post release[edit]
Home media[edit]
Seven was released on VHS, DVD, and Laserdisc in 1996.[130][131][132][133][134] A 2-disc special edition DVD released in 2000, introduced additional features including a remastered picture scanned from the original film negative, extended or deleted scenes, the original opening with Somerset and cut-to-black ending, production photos and designs, and storyboards for an alternate ending. The release also included four commentary tracks: Pitt, Fincher, and Freeman discussing Seven; a discussion between Fincher, De Luca, Francis-Bruce, Walker, and film studies professor Richard Dyer; Khondji, Max, Dyer, Francis-Bruce, and Fincher; and an isolated music and effects score with commentary by Shore, Klyce, Dyer, and Fincher.[134] The film was released on Blu-ray Disc in 2010, featuring remastered visuals and containing all of the additional content present in the special edition, with an additional collectible DigiBook version containing production notes and photo stills.[135][136]
The Seven soundtrack was released with the film in November 1995. The 11-track compact disc and cassette tape release contained several of the songs used in the film, such as «Guilty» and «In the Beginning», as well as two pieces of the score («Portrait of John Doe» and «Suite from Seven»), but omitted «Closer» and «The Hearts Filthy Lesson».[62][58][63] A bootleg recording of the score was released in the late 1990s, before an official debut of the full 16-piece score in 2016.[137][58]
Other media[edit]
A novelization of Seven, written by Anthony Bruno, was released alongside the film in November 1995.[138] A seven-issue comic book series, Seven, was released between September 2006 and October 2007 by Zenescope Entertainment. Serving as a prequel to the events of the film, the comic book focuses on Doe and the planning of his crimes.[139]
Legacy[edit]
Critical reassessment[edit]
Seven is now regarded as one of the best thriller,[o] crime,[p] and mystery films ever made.[q] Some publications have listed Seven among the greatest films of all time.[r] A 2014 poll of 2,120 entertainment industry professionals by The Hollywood Reporter ranked Seven as the eighty-fifth-best film of all time.[159] Review aggregator Rotten Tomatoes offers a 82% approval rating from the aggregated reviews of 85 critics, with an average score of 7.9/10. The website’s critical consensus says: «A brutal, relentlessly grimy shocker with taut performances, slick gore effects, and a haunting finale.»[160] The film has a score of 65 out of 100 on Metacritic based on 22 critics’ reviews, indicating «generally favorable reviews».[161]
Retrospectives have identified Seven as retaining its appeal over its peers due to its bleak, often imitated but rarely equalled ending, as well as Fincher’s story-focused directorial style.[30][20] Critic Matt Goldberg described Seven as timeless because of its stylized reality that is not linked to any particular time or place, and lack of popular culture references, advertisements, or focus on technology.[31] Discussing Seven‘s lasting positive legacy as a thriller, Walker said: «I know a lot of people hate Seven and think it’s just garbage, so it’s good to be humbled in that way. I’m really proud of it … Looking back at the time that’s passed, I feel extremely lucky that they never managed to make a sequel to it … I’ve been lucky that they’ve not managed to make a prequel to it, which, in my opinion, sucks all of the kind of meaning and energy out of who and what John Doe represents. I love that it’s still a standalone piece.[13] Seven is included in the 2013 film reference book 1001 Movies You Must See Before You Die,[162] and has been listed among Pitt’s and Fincher’s best films.[163][164]
Cultural influence[edit]
Seven helped Pitt’s transition into more serious and dramatic acting roles. He and Paltrow became romantically involved before the film’s release, and Pitt would work again with Fincher on films such as Fight Club (1999).[30][2][18][13] It also established Freeman as a mentor-type figure, an archetype he would reprise in many projects thereafter.[30] After the failure of Alien 3, Seven revitalized Fincher’s feature film career, establishing him among the most iconoclastic Hollywood directors of his generation; he would direct The Game (1997), Fight Club, and Panic Room (2002) over the next few years. Walker and Shore collaborated with Fincher on several other projects.[18][32][28][165][166] Describing the personal impact on himself, Walker said «ten years down the line, if nothing else got produced. I’d still have this great movie on video … when I’m run out of town, living my old age, running a miniature golf shop, I can always have what I’ve dreamt of having since I was very young.»[4] In a 2022 interview, MacKay (Sloth) said that he was still earning «healthy residual payments» for his role, and would occasionally be recognized in public by fans.[7] He said: «people still think they used a dummy in that scene … I get that a lot. But that was me.»[7]
Seven inspired many filmmakers, and is considered influential on crime-based films and television shows that replicated its grim aesthetic, body horror imagery, lighting, and premise of disenchanted detectives pursuing criminals with distinct killing methods and motivations, featured in Kiss the Girls (1997), The Bone Collector (1999), Along Came a Spider, The Pledge (both 2001), the Saw series (2003), and television series Prodigal Son (2019–2021).[167][30][140] Collider said Seven caused a resurgence in faith-based horror, supernatural, and apocalyptic mystery films.[140] The superhero film, The Batman (2022), shares similar style and tone with Seven, and publications such as Rolling Stone called it «part superhero blockbuster, part 1970s-antihero homage, and part Seven remake.»[168] Seven‘s use of alternative music by Nine Inch Nails is also seen as contributing to more mainstream use of similar songs in films such as Final Destination (2000), Lara Croft: Tomb Raider (2001), and Resident Evil (2002).[30]
The title credit sequence for Seven was called «one of the most important design innovations of the 1990s» by the New York Times.[61][68] Art of the Title described it as the beginning of a «renaissance in title design, particularly in the horror genre, and its influence was evident over two decades after Seven‘s release.[61] In 2011, IFC ranked the sequence as the third best ever made, behind those of Vertigo (1958) and A Hard Day’s Night (1964),[61] and its style can be seen in the opening credits of films such as The Bone Collector, Red Dragon, and Taking Lives (2004).[30]
The film’s twist ending is considered one of the best in cinematic history.[s] Pitt’s dialogue, «What’s in the box?», as he asks Somerset to confirm the contents of Doe’s box, has become iconic, used in popular culture and memes.[144][176][177][178][24] Walker said «[The twist is] one of the reasons I think Seven did well … because people went in and they did not know in the first ten minutes exactly how the movie was going to end.»[24] Although it is only implied that Tracy’s head is in the box, Fincher recalled an encounter with a woman who said, «‘There is no need to make a stand in of Gwyneth Paltrow’s head to find in the box. You don’t need to see that.’ And I said, ‘Well, we didn’t.’ And she said, ‘Oh yes, you did.’ So, the imagination, if properly primed, can do more than any army of makeup artists.»[26][31] John Doe has been named by several publications as one of the great cinematic villains.[179][180][181][182]
Sequel[edit]
A sequel, Ei8ht, was proposed by New Line Cinema in 2002, based on a repurposed spec script titled Solace by Ted Griffin about a psychic serial killer pursued by a similarly psychic detective, Somerset. The idea was eventually abandoned after principal Seven cast and crew, including Freeman and Pitt, expressed no intention to return for a sequel and Fincher said «I would be less interested in that than I would in having cigarettes put out in my eyes.»[t] The script was made into the standalone thriller, Solace (2015), which was a critical and commercial failure.[187]
References[edit]
Notes[edit]
- ^ Attributed to multiple references:[13][17][18][19][20][21]
- ^ Attributed to multiple references:[26][33][34][20][22]
- ^ Attributed to multiple references:[22][19][26][20][17][13][33]
- ^ Attributed to multiple references:[20][22][21][33][24]
- ^ The 1995 budget of $33–$34 million is equivalent to $58.7 million–$60.5 million in 2021.
- ^ The 1995 theatrical box office gross of $327.3 million is equivalent to $582 million in 2021.
- ^ Attributed to multiple references:[90][91][92][93][94]
- ^ Attributed to multiple references:[95][96][97][98][99][93]
- ^ Attributed to multiple references:[92][95][93][91][101][94][98][99][100][96]
- ^ Attributed to multiple references:[92][94][102][97][99]
- ^ Attributed to multiple references:[93][91][101][97][99]
- ^ Attributed to multiple references:[93][91][101][94][97][100]
- ^ Attributed to multiple references:[93][103][101][100][96]
- ^ Attributed to multiple references:[93][101][105][104][90]
- ^ Attributed to multiple references:[140][1][141][142][143][144][145]
- ^ Attributed to multiple references:[146][147][148]
- ^ Attributed to multiple references:[149][150][151][152][153][154]
- ^ Attributed to multiple references:[155][156][157][158]
- ^ Attributed to multiple references:[54][169][170][171][172][173][174][175]
- ^ Attributed to multiple references:[10][183][184][185][186][187]
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External links[edit]
- Seven at AllMovie
- Seven at Box Office Mojo
- Seven at IMDb
- Seven at Metacritic
- Seven at Rotten Tomatoes
- Seven at the TCM Movie Database