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SE7EN – Can anything more be said about what a mountainous film this is???? Well, now, YES because Unique Line’s original Double DVD is a fabulous package and a MUST for any fan of the film. The film has once again been remastered from the unique film elements and it has never looked better — even better than the worn Criterion laserdisc. Colors, shadowings, sound, dissimilarity have all been adjusted for optimum enact (one of the extras on disc 2 shows the before-and-after on several scenes) . Impartial check out the green lamps in that library scene – WOW! The film is on Disc 1 and there are 4 separate commentary tracks…the most piquant one in my thought is Track 2 which discusses the genesis of the project from script, to selling it to a studio and the fight to withhold the current ending. Fincher is always arresting, but hearing Andrew Kevin Walker discuss his inspiration for writing the script and the struggles to net it made is even more challenging. The lisp late one of the most modern screenplays in years is pure genius. “Extras”-filled Disc 2 features deleted scenes (including the unique opening) …most of which are unbiased slightly extended scenes from the film (you observe more of “Pride”, etc.) . There is also an alternate carve of the ending with different shots that was test-screened to an audience plus a storyboard of a different ending that was never shot. All of these near with or without commentary. An analysis of the opening credit sequence offers different angles and commentaries on 3 variants of the sequence. There are detached galleries with commentaries by the photographers. Yes, “Sloth” victim’s decay is included in the photos (unfortunately, not as clearly as it was presented on the Criterion LD) as well as John Doe’s notebooks and lair. There is only one theatrical trailer (where are all the tv spots, etc. that were on the LD????? ) and a short EPK. There are also some DVD-rom features on both discs (script-to-scene, etc.) to round it all out.
Only downside is that a lot of the extras on the Criterion LD are NOT INCLUDED HERE in any execute. Although Criterion holds the rights to their novel commentary track (Featuring Fincher, Pitt, Freeman, Recall Bottin, Walker, etc) and some other extras, surely Current LINE owns the rights to the tv spots and other such promo materials. Where, for instance, is the astronomical gallery of recent artwork and poster concepts that so playfully ancient the number 7 or the sins as the backdrop???? Modern Line created these so why aren’t they included here? The Criterion disc also had out-takes and many other things not included here, so don’t ever toss that disc out! It’s determined to be considerable some day. And with this DVD, which also includes items NOT on the Criterion LD, they combine to effect the ultimate “SE7EN” collection.
“At first sin is a stranger in the soul; then it becomes a guest; and when we are habituated to it, it becomes as if the master of the house.” – Tolstoy.
Buy,Download, Or Stream Seven! Click Here
Although not originating from the bible, the notion of deadly sins is almost as musty as Christian doctrine itself. Theologians like 4th century Greek monk Evagrius of Pontus first compiled catalogues of deadly offenses against the divine order, which 6th century pope Gregory the Stout consolidated into a list of seven sins, which in turn formed the basis of the works of medieval/renaissance writers like St. Thomas Aquinas (”Summa Theologiae”), Geoffrey Chaucer (”Canterbury Tales”), Christopher Marlowe (”Dr. Faustus”), Edmund Spenser (”The Faerie Queene”) and Dante Alighieri (”Commedia Divina”/”Purgatorio”) . And in times when the ability to read was a privilege rather than a basic skill, the depiction of sin in paintings wasn’t far behind; particularly resulting from the 16th century’s reformulation of church doctrine, the works of artists like Hieronymus Bosch and Pieter Bruegel the Elder brought the horrific results of humankind’s penchant to indulge in vice serve into general consciousness with surrealistic eloquence, reminding their viewers that no sin goes unseen (Bosch, “The Seven Deadly Sins”) and that its commission leads straight into a hell reigned by shocking, grotesque demons and devils whose sole purpose is to torture those fallen into their hands (Bosch, “The Hay-Wagon” and “The Last Judgment;” Bruegel, “The Triumph of Death” and “The Tower of Babel”) .
More recently, the seven deadly sins have been the subject of Stephen Sondheim’s play “Getting Away With Cancel” and a ballet by George Balanchine (”Seven Deadly Sins”) ; and on the silver camouflage the topic has been addressed almost since the beginning of filmmaking (Cabiria [1914], Intolerance [1916]) . Thus, “Se7en” builds on a solid tradition both in its acquire domain and in other art forms, topically as well as in its come, denouncing society’s apathy towards vice and crime. Yet – and although expressly referencing the writings of St. Thomas Aquinas, Chaucer and Dante – David Fincher’s movie eschews well-trodden paths and grabs the viewer’s attention from the beginning; and it does so not merely by the depiction of serial killer John Doe’s (Kevin Spacey’s) crimes, which could easily degenerate into a mindless bloodfest that would defeat the movie’s purpose. (Not that there isn’t a elegant part of blood and gore on display; both visually and in the characters’ dialogue regarding those details not actually shown; but Fincher uses the crimes’ frightening nature to acquire a sense of stark realism, rather than for shock value alone.) In addition, Doe’s mindset is painstakingly presented by the opening credits’ vexed nature, his “lair”’s apocalyptic makeup and his notebooks, all of which were actually written out (at much expense), and whose compilation is shown underlying the credits. The movie’s atmosphere of unrelenting doom is further underscored by a color way dominated by brown, gray and only subdued hues of other colors, and by the fact that almost every outdoors scene is dwelling in rain. Moreover, although screenwriter Andrew Kevin Walker explains on the DVD that the chronicle was inspired by his observations in Unusual York (and the movie was shot partly there, partly in L.A.), it is region in a faceless, nameless city, thus emphasizing that its distress isn’t a specific residence but society generally.
Buy,Download, Or Stream Seven! Click Here
Buy,Download, Or Stream Seven! Click Here
Central to the movie is the difference between world-weary Detective Somerset (Morgan Freeman) who, while decrying the rampant occurrence of violence in society, for powerful of the movie seems to have resigned himself to his inability to do something meaningful about this (and therefore seems to bag apathy for himself, too, until his reluctant final turnaround), and younger Detective Mills (Brad Pitt), who fought for a reassignment to this particular station, perhaps naively expecting his contributions to actually compose a difference; only to become a pawn in Doe’s arrangement instead and thus exhibit that, given the upright trigger, nobody is beyond temptation. As such, Somerset and Mills are not merely another incarnation of the famous old-cop-young-cop pairing. Rather, their characters’ development over the course of the film forces each viewer to put a question to his/her occupy stance towards vice.
Morgan Freeman and Brad Pitt perfectly record the two detectives; while Freeman imbues his Will Somerset with a composed dignity, professionalism and learning, muted by profound but not yet wholly irreversible resignation, Pitt’s David Mills is a brash everyman from the suburbs with an undeniable wander of prejudice, a penchant for expeditiously judgment and a thorough lack of sophistication, both personally and culturally. Indispensable are also the appearances of Gwyneth Paltrow (significantly Brad Pitt’s real-life girlfriend at the time) as Mills’s wife Tracy and ex-marine R. Lee Ermey as the police captain. Yet, from his very first appearance onwards, this is entirely Kevin Spacey’s film. Reportedly, Brad Pitt especially fought hard for his casting; and it is indeed hard to imagine “Se7en” with anybody other than the guy who, that same year, also won an Oscar for portraying devilish Keyser Soze in “The Usual Suspects”: No living actor has Spacey’s ability to simultaneously mutter spine-chilling villainy, laconic indifference and limitless superiority with merely a few gestures and vocal inflections.
While “Se7en” can certainly claim the “sledgehammer” achieve on its viewers sought by its fictional killer, the punishment meted out to Doe’s victims – taking their perceived sins to the shameful – pales in comparison to that awaiting sinners according to medieval teachings. (Inter alia, gluttons would thus be forced to eat vermin, toads and snakes, greed-mongers set in cauldrons of boiling oil and those guilty of lust smothered in fire and brimstone.) Most serial killers have decidedly more mundane motivations than Doe. And after all, this is only a movie.
Right?
“Sin … engenders vice by repetition of the same acts, [clouding the conscience and corrupting the judgment.] Thus sin tends to reproduce … and reinforce itself, but it cannot demolish the accurate sense at its root.” – Catechism of the Catholic Church (1994) .
Also recommended:
Getting Away With Murder
Red Dragon (Widescreen Collector’s Edition)
The Silence of the Lambs (Two-Disc Collector’s Edition)
Cabiria
Intolerance
The Divine Comedy (The Inferno, The Purgatorio, and The Paradiso)
The Canterbury Tales (Penguin Classics)
Aquinas: Selected Writings (Penguin Classics)
Bosch : C. 1450 1516 Between Heaven and Hell (Basic Series : Art)
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