Se7en analysis

Se7en - Thriller Analysis

Narrative Structure
The narrative structure of Se7en is linear and the story that unfolds is in chronological order. It is set in a week over the seven days seven murders are committed one for each deadly sin. The themes in the film are that of religious and classical text based killings. And humanity – whether it is worth fighting for and having belief in god or a lack there of.

Thriller Codes and Conventions
There are plenty of codes and conventions of a typical thriller film shown in Se7en.
In the scene were Brad Pitt’s character David Mills chases Kevin Spacey’s character John Doe we never see Doe’s face. He it is either covered by his hat or he is too far away. This adds to the suspense, the audience are made to feel like they are about to find out who the killer is. But when he gets away from Mills he removes himself from view of the audience too. The quick cuts and fast paced cinematography often used in Thrillers is used in Se7en to great extent in the scenes e.g. chase scene. Gory scenes are usually a convention of thrillers and this film has many creative examples from every murder scene they visit. The shadows, eerie lighting and dingy setting used in the scene when Mills and Somerset are looking around John Doe’s apartment is typical of a thriller film convention. A setting like this builds tension and prepares the audience to expect something to jump out at any minute.

The thriller convention theories compiled by Mark Ruben that we looked at the other week also apply to Se7en. Se7en is set in a city hence, GK Chesterton’s theory of an Urban setting. Northrop Frye’s idea of turning the ordinary into the extraordinary applies here as the heroes of the storyline, may be policemen, but they are still ordinary people. The audience is even shown them being ordinary by showing how they both started their days like normal. John Cawelti brings the exotic to this, in the way that Doe’s murders were so elaborate and how the plot combines classic and biblical texts. This is not something normal it is “exotic” in the way that it is so inventive and unusual. WH Matthews theory of twists applies to Se7en when you look at the section in the film when, just before the sloth killing, Mills and Somerset think they have caught the murderer. But no it turns out the man they thought was the murderer was actually one of the victims. Pascal Bonitzer’s theory of partial vision applies to Se7en when the audience does not see what is in the box at the end. Not seeing the what is in the box at the end also applies to Lars Ole Saurberg’s theory of concealment and protraction as the outcome is drawn out in the moment as Somerset opens the box and this builds tension for the audience. Noel Carroll’s theory of question and answer applies to Se7en as the audience is constantly asking the questions “who is committing all these murders?” and “Will the Mills and Somerset catch him?” they are answered as the film goes on.

Cinematography
Rather than shot-reverse-shot Mills and Somerset have a lot of two shot and sideways on conversations. E.g. on the couch and in the mirror. Firstly showing that neither character is more important than the other and also because it is supposed to make the audience feel like one of the team, as if the viewer is level with and alongside the two main characters, helping them solve the case. At the beginning, a lot of the shots of Mills and Somerset are from below. This is probably to show the high status they both hold in the film. Se7en is also full of tracking shots. Mainly when they are on a murder scene, the camera is in front following them through the rooms this allows the audience feel more involved in what is happening. Similarly, there are also shots where the camera pans slowly around the room e.g. seeing Doe’s apartment properly for the first time. The audience is now being allowed to look around for details, yet again increasing the involvement. Shaky running shots from the chase scene makes the audience part of the point of view. It is also used to break up the shots for some variety and texture.

In one of the final scenes the camera is looking up to Doe and his head is blocking out the sun giving him an angelic glow. This is a clever technique and subtle reminder of how Doe thinks of himself. How he is under the impression he is doing God’s work by killing these people. Finally, the wide, almost aerial shot of the men after the shooting has been used to distance the audience from the characters now and to remind them of the wider consequences of what has happened.


Mise-en-Scene
Performance
There is a noticeable contrast in the confidence portrayed between the detectives. Mills is urgent and always eager for action whereas Somerset takes his investigations in a calm, careful manner. We can see that his character is the one who looks at the logics behind each case. A contrast like this would usually result in the two characters being incompatible. However, their styles of investigation compliment each other and in the end they make a good team. The performance of both Pitt and Freeman’s characters when they are in the office, when Somerset is preparing to move out and Mills moves in, is very realistically awkward. The audience is made to feel the tension in the room along with the characters.

Costume, Hair and Make-up
Looking at the costumes worn by the two main characters we see that Somerset’s suits are always neatly pressed. He alternates between grey and brown tweed, wearing a trilby a lot of the time. This traditional attire tell the audience that this character is quite old fashioned before we even get to know him. On the other hand Mills is generally seen wearing black suit trousers, a white shirt and a crumpled leather jacket. We also see how Mills’ tie is already done before he puts it on, this again helps us identify Mills’ character. The viewer sees he is a bit rough around the edges, but is trying hard and his tie being already done suggests that he is always on the go and wants to keep everything fast paced.


Props
One major prop used continuously in Se7en are guns. As the film goes on we learn that Somerset has only had to draw his gun once and Mills even though he is relatively new, he has not only drawn his gun but has shot it and killed. The presence of guns in this film is unavoidable and the viewer sees that Mills’ wife, Tracy hates guns which is a clue as to what will happen in the end. Torches are also an important prop in Se7en, they are used to highlight certain areas on the screen – the audience are only shown what the torches shine on, this highlights details and the viewer also cannot see whether the killer is there, this creates suspense and fear. Dreary, messy apartments with flickering televisions, cockroaches and dull lighting all add to the eerie, creepy feel that is trying to be created. Another prop that was used to good effect was the hundreds of car air fresheners over the rotting body in the “Sloth” killing. The sheer amount of air fresheners used helps the audience imagine how bad it must smell.

Sound
In the introductory montage of Se7en, a mixture of grungy mechanical, unnatural noise has been dubbed over. It has no comforting tones and so builds tension for the audience about what is going to happen during the film. The post synchronized diegetic, off screen noise such as rain, sirens, shouting and dogs barking have all been added to help the audience learn to sympathise with the characters and gain understanding of why they do not like living in the city. During the montage of Mills and Somerset in the library and at home both trying to solve the case. Somerset listens to the classical music piece ‘Air on a G String’ by Bach, though it has been dubbed over the shots of Mills also. This makes the audience consider the contrast by showing the peaceful intellectual side to their job. This music continues in a sound bridge over to Wednesday helping the scenes to flow into one another.


Editing and Graphics
The editing in the introduction of Se7en is shown in quick cuts between shots of what we later learn is John Doe preparing for the murders he commits. These harsh cuts are supposed to represent the sharp razorblades in the clips and give a feeling of uneasiness and curiosity to the audience preparing them for what is to come. The montage style clips of Somerset in the library and Mills at home are slow sweeping shots and are dragged out before flicking between the two of them as this is meant to be a peaceful scene. The flash of Mills wife’s face at the end is used to explain to those in the audience who have not understood. And also the fact that it is shown very quickly is supposed to put across how quickly this will have registered in Mills mind and what he will have seen before he decided to kill Doe for revenge. The scene where the frame has been bordered with binoculars when they are looking through them is once again for audience involvement.