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Seven (1995 film) Seven (stylized as SE7EN) is a 1995 American neo-noir psychological 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. The film tells the story of David Mills (Pitt), a detective who partners with the retiring William Somerset (Freeman) to track down a serial killer who uses the seven deadly sins as a motif in his murders.

The screenplay was influenced by the time Walker spent in New York City trying to make it as a writer. Principal photography took place in Los Angeles, with the last scene filmed near Lancaster, California. The film's budget was $33 million.

Released on September 22, 1995, by New Line Cinema, Seven was the seventh-highest-grossing film of the year, grossing over $327 million worldwide. It was well received by critics and was nominated for Best Film Editing at the 68th Academy Awards, losing to Apollo 13.

Plot

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 fifth victim is found the following day, a model facially disfigured by Doe who committed the sin of pride by taking a drug overdose instead of living without her physical beauty. 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. Upset at what he finds, 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 implores 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 "be around." A narration by Somerset states, "Ernest Hemingway once wrote 'The world is a fine place and worth fighting for.' I agree with the second part."

Cast

• Brad Pitt as David Mills: A well-meaning but impulsive homicide detective
• Morgan Freeman as William Somerset: A veteran police officer disillusioned with his job
• Gwyneth Paltrow as Tracy Mills: Detective Mills' pregnant wife
• Kevin Spacey as John Doe: A serial killer inspired by the seven deadly sins
• Richard Roundtree as Martin Talbot
• R. Lee Ermey as Police Captain
• John C. McGinley as California: A SWAT team leader
• Julie Araskog as Mrs. Gould
• John Cassini Officer Davis
• Reg E. Cathey as Dr. Santiago
• Peter Crombie Dr O'Neill
• Richard Portnow Dr. beardsley
• Richard Schiff as Mark Swarr

• Mark Boone Junior as greasy FBI Man
• Hawthorne James as library night guard George
• Michael Massee as Man in massage parlour booth
• Leland Orser as Crazed Man in massage parlour
• Pamala Tyson thin vagrant by john does apartment

• Bob Mack as Gluttony Victim
• Gene Borkan as Greed Victim
• Michael Reid MacKay as Sloth Victim drug dealer and child abuser (Theodore "Victor" Allen)
• Cat Mueller as Lust Victim sex worker
• Heidi Schanz as Pride Victim a model (Rachel Slade)

Production

Pre-production

The primary influence for the film's screenplay came from Andrew Kevin Walker's time spent in New York City while trying to make it as a screenwriter. "I didn't like my time in New York, but it's true that if I hadn't lived there I probably wouldn't have written Seven." He envisioned actor William Hurt as Somerset and named the character after his favorite author, W. Somerset Maugham.

Jeremiah S. Chechik was attached to direct at one point. During pre-production, Al Pacino was considered for the Detective Somerset role, but he decided to do City Hall instead. Denzel Washington and Sylvester Stallone decided to turn down the role of Mills. Washington later regretted turning down the role. Robert Duvall and Gene Hackman also turned down the role of Detective Somerset. Christina Applegate turned down the role of Tracy. Ned Beatty, Val Kilmer and Michael Stipe were considered for the role of John Doe.

The ending of the screenplay, with the head in the box, was originally part of an earlier draft that New Line had rejected, instead opting for an ending that involved more traditional elements of a detective thriller film with more action-oriented elements. But when New Line sent David Fincher the screenplay to review for his interest in the project, they accidentally sent him the original screenplay with the head-in-the-box ending. At the time, Fincher had not read a script for a year and a half since the frustrating experience of making Alien 3; he said, "I thought I'd rather die of colon cancer than do another movie". Fincher eventually agreed to direct Seven because he was drawn to the script, which he found to be a "connect-the-dots movie that delivers about inhumanity. It's psychologically violent. It implies so much, not about why you did but how you did it". He found it more a "meditation on evil" rather than a "police procedural".

When New Line realized that they had sent Fincher the wrong draft, the President of Production, Michael De Luca, met with Fincher and noted that there was internal pressure to retain the revised version; De Luca stated that if Fincher promised to direct the movie, they would be able to stay with the head-in-a-box ending. Despite this, producer Kopelson refused to allow the film to include the head-in-a-box scene.

• CHEC WORDING Actor Pitt joined Fincher in arguing for keeping this original scene, noting that his previous film Legends of the Fall had its emotional ending cut after negative feedback from test audiences, and refusing to do Seven unless the head-in-the-box scene remained.

Casting

• he has taken the shears to his flowing locks and slimmed down the frame he’d pumped up to play the godlike Tristan Ludlow in “Legends of the Fall” last year.
• “I just wanted to escape the cheese,” Pitt says, using one of his favorite expressions to describe his foray into the world of the schmaltzy romantic lead. He eases into a subtly disarming smile as he draws out the last word for emphasis. “I came to find out had a lactose intolerance as well, so I was very happy about it.”
• “I was looking for something with more of a documentary feel, more conversational and urban like ‘The Conversation’ or ‘The French Connection,’
• “I mean, the guy is kind of an idiot,” Pitt says. “The intentions are there, he just speaks before he really knows what he’s talking about.”
• Fincher says it took Pitt’s natural charm to pull off the tricky role. “I hadn’t originally thought of Brad,” he says. “I’d never seen Mills as particularly accomplished, and I was concerned that Brad 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.”
• This is the role, in fact, that producer Arnold Kopelson (“The Fugitive,” “Outbreak”) says will push Pitt into the realm of serious acting. “I just came away from ‘Legends’ with a very core feeling in the pit of my stomach: This is a superstar,” says Kopelson, who cut pre-production time on “Seven” to five weeks from 12 so he could get Pitt for the role.
• He insisted also on doing the chase scenes in “Seven,” though he fell through a windshield and cut tendons and nerves in his left hand.

tracy

• “The Tracy character was so important because it’s the only sunshine we have in the film. This is the feel-bad movie of ’95,” Pitt says. “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--soul. She took a fantastic part and made it better.”
• In fact, he originally suggested Paltrow for the part of his wife, Tracy, in “Seven,” because he’d been impressed by her audition for “Legends of the Fall.”

sloth

• Director David Fincher's most physically horrifying "Seven" casualty, and most memorable jump, was played by a real human. Actor Michael Reid Mackay, 5-foot-5, often hired for his slight appearance, weighed about 96 pounds during the shoot. (These days, he says, he's "a whopping" 108 pounds.)
• Prosthetic body makeup made the tortured victim appear all the more starved and the scene forever terrifying – 25 years after the film's release on Sept. 22, 1995.
• "People still think they used a dummy in that scene," says MacKay, now 67. "I get that a lot. But that was me."
• The actor was told he was basically a corpse, so he had to remain entirely still until his big moment. "So I turned slowly and stared into the camera. And they said, 'Oh, my God, that’s creepy.' It was so fast. I heard very soon afterward I had it."
• There were 11 days for experimenting and applying the extensive makeup required: skeletal teeth, skin airbrushed a deathly white with veins highlighted, fake bedsores applied everywhere, hair plastered to his head.
• Transported to the appropriately dank Los Angeles location set in full makeup, MacKay recalls Freeman spotting him and saying, "You don't look so good."

Filming

• McGinley remembers acting shocked and jumping away, as California "basically ejects himself" to escape the near-dead victim, a scene which Fincher shot repeatedly. MacKay insists that an unsuspecting McGinley's real shock at his first move was captured in the first take: "I did scare the (stuff) out of him."

The film was shot over a long period of 55 days. Fincher approached making Seven like a "tiny genre movie, the kind of movie Friedkin might have made after The Exorcist." He worked with cinematographer Darius Khondji and adopted a simple approach to the camerawork, which was influenced by the television show COPS, "how the camera is in the backseat peering over people's shoulder". Fincher allowed Walker on the set while filming for on-the-set rewrites. According to the director, "Seven is the first time I got to carry through certain things about the camera – and about what movies are or can be".

The crowded urban streets filled with noisy denizens and an oppressive rain that seems to fall without respite were integral parts of the film, as Fincher wanted to show a city that was "dirty, violent, polluted, often depressing. Visually and stylistically, that's how we wanted to portray this world. Everything needed to be as authentic and raw as possible." To this end, Fincher turned to production designer Arthur Max to create a dismal world that often eerily mirrors its inhabitants. "We created a setting that reflects the moral decay of the people in it", says Max. "Everything is falling apart, and nothing is working properly." The film's brooding, dark look was achieved through a chemical process called bleach bypass, wherein the silver in the film stock was not completely removed, which in turn deepened the dark, shadowy images in the film and increased its overall tonal quality.

The 'head in a box' ending continued to worry the studio after filming was completed. After the first cut of the film was shown to the studio, they attempted to mitigate the bleakness of the ending by replacing Mills' wife's head with that of a dog, or by not having Mills fire on John Doe. However, both Fincher and Pitt continued to fight for the original ending. The final scenes of Mills being taken away and Somerset's quote from Ernest Hemingway were filmed by Fincher after initial filming was complete as a way to placate the studio (the original intention was for the film to suddenly end after Mills shot John Doe).

Title sequence

Originally, Fincher planned the title sequence of the film to show Freeman's character buying a house in a remote country area and traveling back into the city. However, days before a test screening, they had yet to film the sequence and had no budget to do it in that time. Fincher approached Kyle Cooper to suggest a replacement. Cooper recognized the amount of money used to make John Doe's notebooks (created by Clive Piercy and John Sabel), and used the sequence to display them in a slideshow set to a remix of Nine Inch Nails' "Closer", created by the band Coil. The hand-drawn credits font was used to suggest that Doe had written the credits himself.

The studio liked the sequence and suggested he stay with that. Fincher instead asked Cooper to "pretend we've never met and come back and propose something else", according to Cooper. Cooper came up with a more detailed version of this photographic sequence: "The idea was that this is John Doe's job: he gets up, makes his books, plans his murders, drinks his tea." Fincher liked this approach, but cautioned Cooper, "Well, that would be neat, but that's kind of a 2D glimpse. Figure out a way for it to involve John Doe, to show that somewhere across town somebody is working on some really evil shit. I don't want it to be just flipping through pages, as beautiful as they are." Cooper reworked the idea, working with Wayne Coe to create a storyboard for a live-action shot and adding in filming along with photographs of the books, new props include film reels and additional notebooks, visual effects for the title credits, and elements inspired by Doe's behavior in the movie, such as cutting his fingertips. Fincher liked this approach, and considered getting Mark Romanek, the director of the "Closer" music video, to produce the sequence, but Cooper insisted he direct it. Cooper was assisted by film editor Angus Wall and cinematographer Harris Savides in making the final title sequence. The filming took two days and five further weeks to edit. The credits were hand-etched onto black scratchboard and manipulated by the camera, rather than using digital effects, and scroll from top to bottom, instead of the conventional bottom to top. Critics have noted that the title sequence resembles the aesthetic style of experimental filmmaker Stan Brakhage.

Music

The opening credit music is a spliced sample of an uncredited remix of the Nine Inch Nails song "Closer", available as "Closer (Precursor)" (remixed by Coil). The song during the end credits is David Bowie's song "The Hearts Filthy Lesson", found on his album Outside. The film's original score is by Howard Shore. The soundtrack was released in 1995 by TVT Records in conjunction with the movie. Shore's score was finally released by the Warner Archive Collection in 2016.

1. "In the Beginning" – The Statler Brothers
2. "Guilty" – Gravity Kills
3. "Trouble Man" – Marvin Gaye
4. "Speaking of Happiness" – Gloria Lynne – written by Buddy Scott & Jimmy Radcliffe
5. "Suite No. 3 in D Major, BWV 1068 Air" – written by Johann Sebastian Bach, performed by Stuttgarter Kammerorchester / Karl Münchinger
6. "Love Plus One" – Haircut One Hundred
7. "I Cover the Waterfront" – Billie Holiday
8. "Now's the Time" – Charlie Parker
9. "Straight, No Chaser" – Thelonious Monk (taken from Monk in Tokyo)
10. "Portrait of John Doe" – Howard Shore
11. "Suite from Seven" – Howard Shore

Release

Box office

Seven was released on September 22, 1995, in 2,441 theaters where it grossed US$13.9 million on its opening weekend. It went on to gross $100.1 million in North America and $227.1 million in the rest of the world for a total of $327.3 million, making Seven the seventh-highest-grossing film in 1995. The film also spent 4 consecutive weeks in the top spot at the U.S. box office in 1995.

Reception

Critical response

On review aggregator website Rotten Tomatoes the film holds an approval rating of 82% based on 83 reviews, with an average rating of 7.90/10. The site's critics' consensus reads: "A brutal, relentlessly grimy shocker with taut performances, slick gore effects, and a haunting finale." At Metacritic the film has a weighted average score of 65 out of 100, based on 22 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale.

Gary Arnold, in The Washington Times, praised the cast: "The film's ace in the hole is the personal appeal generated by Mr. Freeman as the mature, cerebral cop and Mr. Pitt as the young, headstrong cop. Not that the contrast is inspired or believable in itself. What gets to you is the prowess of the co-stars as they fill out sketchy character profiles." Sheila Johnston, in her review for The Independent, praised Freeman's performance: "The film belongs to Freeman and his quiet, carefully detailed portrayal of the jaded older man who learns not to give up the fight." James Charisma, in a list of Spacey's greatest film performances for Paste, wrote: "Spacey's portrayal is a perfect balancing act: John Doe is detached from the murders he commits, yet deliberate and meticulous in his execution ... Unemotional yet smug. Analytical, violent, patient, impenetrable." In his review for Sight and Sound, John Wrathall wrote, "Seven has the scariest ending since George Sluizer's original The Vanishing ... and stands as the most complex and disturbing entry in the serial killer genre since Manhunter." In his "Great Movies" list review, film critic Roger Ebert commented on Fincher's direction: "None of his films is darker than this one."

The scholar Jeremy Tambling examined the film as an example of allegory.

Accolades

New Line Cinema re-released Seven in Westwood, Los Angeles, California, on Christmas Day and in New York City on December 29, 1995, in an attempt to generate Academy Award nominations for Freeman, Pitt, and Fincher, which was ultimately unsuccessful.

American Film Institute recognition

2003: AFI's 100 Years...100 Heroes & Villains

• John Doe – Nominated Villain

Post release

Home media

For the DVD release, Seven was remastered and presented in the widescreen format, preserving the 2.40:1 aspect ratio of its original theatrical exhibition. Audio options include Dolby Digital EX 5.1, DTS ES Discrete 6.1, and Stereo Surround Sound.

The Seven DVD features four newly-recorded, feature-length audio commentaries featuring the stars, director, and other key contributors to the film, who talk about their experiences making Seven. Disc one features a printable screenplay with links to the film.

A Blu-ray version of the film was released on September 14, 2010 by Warner Home Video and retained nearly all of the special features from the DVD.

Novelization and comic books

In 1995, a novelization with the same title was written by Anthony Bruno based on the original film.

Between September 2006 and October 2007, a series of seven comic books were published by Zenescope Entertainment with each of the seven issues dedicated to one of the seven sins. It told the story from the perspective of John Doe rather than the two homicide detectives as in the film, and gave Doe a backstory. Each issue included contributions by a group of creators independent of each other. All seven issues were collected in trade paperback form, released on January 15, 2008, as SE7EN, edited by David Seidman and Ralph Tedesco.

Legacy

• Recently, he’s been spending most of his free time with Paltrow, his co-star in “Seven,” with whom he’s become romantically involved.

• MacKay still receives healthy residual payments for his "Seven" role and considers it a career highpoint. "I’m pretty proud of it. I think I was pretty cool," he says. There are also the rare "Seven" star sightings. "Four years ago, I was in Ralphs (supermarket), walking down the aisle. And this guy said, 'Sir, I loved in you in 'Seven,' " MacKay recalls. "And I was like, 'How did you know it was me? I was a corpse for God's sake.'

References

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Further reading

• Dyer, Richard (1999). Seven. London: British Film Institute. ISBN 978-0-85170-723-5.

External links

• Darkwarriorblake/Seven at IMDb
• Seven at the TCM Movie Database
• Template:Amg movie
• Darkwarriorblake/Seven at Box Office Mojo
• Darkwarriorblake/Seven at Rotten Tomatoes
• {{Metacritic film}} template missing ID and not present in Wikidata.
• Darkwarriorblake/Seven at Letterboxd

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• https://web.archive.org/web/20220501024128/https://www.nytimes.com/1995/09/22/movies/film-review-a-sickening-catalogue-of-sins-every-one-of-them-deadly.html
  • https://web.archive.org/web/20150526142559/http://www.nytimes.com/1995/09/10/movies/the-annotated-calendar-film.html
• https://web.archive.org/web/20220903225145/https://www.nytimes.com/1996/03/24/arts/the-new-look-in-film-titles-edgy-type-thats-on-the-move.html
• https://www.latimes.com/archives/la-xpm-1995-11-03-ca-64259-story.html
• https://www.latimes.com/archives/la-xpm-1995-09-22-ca-48658-story.html
• https://www.latimes.com/archives/la-xpm-1995-09-21-ls-48188-story.html
• https://www.latimes.com/archives/la-xpm-1995-09-17-ca-46696-story.html
• https://www.latimes.com/archives/la-xpm-1993-10-24-ca-49048-story.html
• https://www.latimes.com/archives/la-xpm-1997-sep-17-ca-33037-story.html
• https://www.latimes.com/archives/la-xpm-1997-01-19-ca-19947-story.html
• https://www.techradar.com/features/ranked-every-david-fincher-movie-rated-from-worst-to-best?utm_medium=social&utm_campaign=socialflow&utm_source=facebook.com&utm_content=techradar&fbclid=IwAR2PP61neT0xjB24MXUG56s2rgqHMH54Rpwq7B9mflLf9zs9fUrEpy4aEzQ
• https://www.nytimes.com/1999/10/24/movies/l-david-fincher-violence-isn-t-stylish-098914.html

• https://www.nytimes.com/1997/08/31/movies/a-meeting-of-tough-minds-in-hollywood.html
• https://www.slashfilm.com/861432/the-makeup-process-for-sevens-sloth-was-torture/