Analysing Se7en's city

The board has enlisted sins. Typewriters filled the room, filled unsolved desks, phones do not stop ringing and chaos feels at the station. Mills impatient listening speculation Somerset, who admires the murderer increasingly Yoda. Somerset rushed out without explanation, Mills behind him. Library; Pizza restaurant; barbershop; Street; departments; corridors; rooms; abandoned theater; back to the street; cars; garbage crowd and finally an alley. All the chaos concentrated in one space, the city.

The city is the most accomplished concept of human room. The city ranks as the end of social construction. No matter how developed or undeveloped is the city as their homes or buildings, streets and bridges, with their energy and water services, with their places of public assembly, with its web of overhead or underground cables, with their networks of pipes and drains; all cities reflect a latest concept: the chance to live surrounded by the rule of human objects and thus feel secure.

The place where a security that allows us to develop socially created. This idea is discussed in time when he intends to provide security city corrupted by elements arising from the same.

Through the picture, sound, staging and plot and narrative, Se7en reflects this idea, where the security of the city is threatened by what constitutes it. The order of this is based on chaos.

The first time we noticed disdain, even contempt, that the characters feel toward the huge city without name of the movie was in the post-discovery of the mutilated body of attorney Eli Gould scene. In this sequence, the police captain enters the office of Detective Somerset, and begin to talk about life after retirement of the latter. It is in this part when Somerset first refers to the place where he lives as a place that does not understand. It is not the last time on the tape that the detective refers to the city in this way.

Other characters, like Tracy, the wife of Detective Mills, and even the main antagonist of the story, John Doe, refer to the city as a place that is foreign to them. We constantly see characters who inhabit the city, but are not part of it. We could even talk that the city is made up entirely of people who are external to it. Although that is not the main theme of the film, the city seems a point important to the same end, without which the story would take place in a very different way. For this reason we decided to focus on the way in which the city through the order set chaos, order and how this influences the development of the characters.

SE7EN: How does David Fincher's establish character?

-The thriller, rather than a genre, is a sinister tone

 in which the stories of bloodthirsty murderers

 of heinous crimes, but also of superlatives characters

 that escape the laws of nature and reason develop.

In the thriller the aim is to cause maximum stress

 on the viewer as thrill means, excite

 and the thrill's name means entreteinment. -

There is no doubt that 'Se7en' (1995) meets this definition superlative, it is an apocalyptic speech mercilessly crumbling clichés detective films and a dying, insane, sterile society.

“Did the kid see it?”

Somerset (Morgan Freeman) asks. He’s referring to a crime, and he’s asking because that’s the kind of guy he is. Somerset is curious and thoughtful, inquisitive and concerned. He’s been doing this job a long time, but he still cares about things like whether or not a kid sees something awful.  

That sentence says it all, he is a man that neither the years of detective or immorality around him has worn him. His soul is not yet fully sunk in that world of darkness and crimes, continues to see shades of light keeping him sensitive. He sees it as if the other side of the window.

 Sleeps alone, with only the meditative tick of a bedside metronome for company.

The hypnotic sound of the metronome marks a meticulous rhythm of 2/2 building a way to circumvent the sound of the noisy city and focus in a neutral state of calm that helps him escape from his thoughts and escape the anxiety that leads into him. He has sleeping problems and needs self-hypnosis to achieve the dream state that without it, he could not get.

Also, the first scene gives us the image of him standing with his back to the camera, wearing a white shirt and black trousers with straps hanging down.The character is almost in the center of the room, a kitchen. The camera is positioned below the midline. The man turns, forward, clasping the cuffs of his shirt, forward and to the right of the viewer. You can see a chessboard, window and some other elements of the stage. The images tell how a man dresses. We see the man tying his tie in the mirror, remove a speck from his bag on the bed spread, save a series of objects (a pen, knife, etc.)

He's jaded and almost vital energy, its cleanliness, putting his jacket (which picks up a hair ...), respecting the scene of a crime of passion detective.

His actions seem a regular symmetrical dance in their daily lives. Everything is neatly timed and conducted, reflecting calm and control that distinguish the character.Even the way in which sorts the objects, leaving the same space between each other and all perfectly aligned. All but one.

A handkerchief and a piece of wallpaper stand out wildly in this row of objects, which is slightly turned might content emotions Somerset has on this object, that is in disorder with the other things can mean the detective's weekness.

“Detective Somerset? I’m Detective Mills (Brad Pitt),”

 Mills says, running into the scene to introduce himself. As we’re observing Somerset’s character through his behaviors and symbols, Mills jumps right in to tell us who he is.

“I wasn’t standing guard outside a Taco Bell,” Mills tells him. “I”ve worked homicide five years.”

“Not here,” Somerset assures Mills.

Mills is presented as a nervous and clever character, while young, contrasting sharply with the calm and neatness of the experienced Detective Somerset.

 He’s been transferred in, and he’s ready to get to work. Old cop, young cop, detailed cop, brash cop. There’s a combative energy from the first time their eyes meet which invests the audience in their evolution.Before we can notice, characters and attitudes are established. 

It is gratifying to note mime Fincher in caring for David Mills (Brad Pitt very solid) and William Somerset (superb, as usual, the great Morgan Freeman), two antagonistic characters who are prepared, as two sides of the same coin.