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Seven Deadly Sins

Director: David Fincher
Year: 1995 Country: U.S. Genre: Thriller Score: 10/10
Cast: Brad Pitt, Morgan Freeman, Gwyneth Paltrow, Kevin Spacey, John C. McGinley, Richard Roundtree, R. Lee Ermey, Leland Orser and Richard Schiff

Lt. Somerset (Morgan Freeman), the homicide department is about to retire and be replaced by young, ambitious and brilliant detective David Mills (Brad Pitt). Both will have to cooperate in solving a series of murders committed by a psychopath who builds on the relationship of the seven deadly sins: gluttony, sloth, pride, greed, envy, lust and anger. The bodies of the victims, the police will be converted to a puzzle that will require them to travel to the horror and utter barbarism. Skip to ruin, almost completely, and for many fans, one of the most important sagas in science fiction, to lead one of the most important and memorable thrillers of the 90's, has to do with several things, and possibly the least important of them is the very David Fincher, who between "Alien 3" (1992) and does not seem to have changed or reformulated their ideas about their trade. Things to think if this had been the first title in the filmography of director, mythical aura with that always attach to the dazzling debut. As in "Citizen Kane" (1941), which contained all the technical and TRAMAT of his time to crystallize into a whole, to a much lesser extent "The Seven Deadly Sins" brings together, condensed and reformulated all the constants and affinities plastic police thriller and drama to create something more than a thousand times imitated since.

thriller rather than a genre, is an ominous tone in which stories unfold bloodthirsty murderers, heinous crimes, but also characters that are beyond superlatives laws of nature and reason. In the thriller The aim is to cause the maximum stress in the viewer, because "to thrill" means excitement, enthusiasm, and the name "thrill" means shudder. There is no doubt that "The Seven Deadly Sins" complies with this definition in the superlative, it is the most shocking thriller of the decade, not only that, but an apocalyptic discourse that breaks without pity the police film clichés and society dying, insane, sterile. Not only the detective film, but movies are impossible to police partners (whose fashion started in the previous decade), research hyperbolic killings (which reached its zenith in the decade after the TV series "CSI"), the sleek black cinema and sleepwalking East, including the comic noir vein wildest given hand in "The Seven Deadly Sins" . At that time you could not go further, and even the end credits, which go in the opposite direction to usual will mean a reinvention. Four years after the extraordinary "The Silence of the Lambs" (1991), the film goes as far as possible without falling into parody, a psychopath who is more of an avenging angel on a mission divine, a crazy morbid compulsions unsatisfied.

addition, "The Seven Deadly Sins" offers a revolutionary and not always appreciated in their own merit, is to understand the post. Of course it before scanning techniques of negative and had begun to bear fruit, but this movie represents a great achievement plastic embedded in a highly personal narrative, which has become a classic. Hence the importance of transforming the image of this film into something which will become absolute aesthetic integration of the decisions of photography and design production in the mood and the emotional journey of his characters. In this much of the responsibility lies with the great Darius Khondji operator, which is a total complicity with the principal when the abstraction style to this story in the limits of sleaze and sinister. He was scheduled for 12 or 13 weeks of shooting, with days of 18 to 20 hours. Camera work environments always rain (which made the look like New York or Philadelphia, becoming a city without a name), timeless interiors with fumes caused a chronic cough in members of the shooting. All that is palpable on screen. You can smell the influence of Pakula's film and "The French Connection" (1971). This script by Andrew Kevin Walker demented required maybe a shooting experience as stressful and claustrophobic as the feelings they want to provoke in the viewer. Many will stay with the twisted logic and ultimately incoherent and exciting this convoluted plot leads us relentlessly and mercilessly by a nightmarish tunnel within seven murders based on the deadly sins. Others can play down the extent of their story and go deeper into the richness of its characters and the superb staging that accompanies them.

is gratifying to see the Fincher mime in caring for David Mills (Brad Pitt very solid) and William Somerset (splendid, as usual, the great Morgan Freeman), two antagonistic characters that are developed as two sides of the same coin. Suffice it to observe its early sequences separately. We started with Somerset, which is a weary detective and almost vital energy, in its cleanliness, putting on his jacket (which includes a hair), respecting the scene of a crime of passion. When falling asleep (using a metronome to it) begin the famous credits (a magnificent piece of video art that anticipates the tone, look and the darkness of the story), which may well be a nightmare premonition of own or Somerset Mills's own nightmare, as the end credits, is awakened Pitt's character. David Mills is awake. Drink coffee, not as Somerset, who knocked him to sink to its opening sequence (and then dismissed it when it takes the first crime scene sharing), choose your tie between several wrinkled (unlike that of Somerset). Once you know, start talking in the street. Somerset quiet walks among the flood of people walking in the opposite direction to them, while Mills has to be dodging and hitting one ends. Somerset remain calm, but tense Mills is seen. What Fincher expressed in this staging? The convenience of Somerset in the oppressive atmosphere and the fact that Mills is not ready yet to support it. This is brilliant staging, and presentation and confrontation of the two characters after their intimacy is an excellent presentation of characters.

This duo protagonist, and the grounds of his personality, are the real engine of a story that could have been much more predictable and monotonous with some smaller players delivered, and a director not as aware of your faces. The final appearance of Kevin Speacy like that indestructible angel of death is a chilling creation of a singular performer, led astutely by Fincher, who pushes him to a great effort in the final climax. It is set to surprise of catharsis, transformation of the police in the psychopathic murderer and martyr (a lighted, almost, ready to clean and butcher their creative talents to the Land of the "impure" the undeserving) pulling the viewer the last drops of security that could have left. The conclusion leaves a bitter taste in the mouth, such as emotional summit is not expected but is still grateful for the break from the horror. The show, lecture by Richard Francis-Bruce, the music, avant-garde and out of parameters, Howard Shore, have been commissioned to cast off all hope, we have tested harder. The film recovers its ability to convert the terrors of today's society a fiction, a parable of the insecurity, the inability of the security forces to quell the sinister side of humanity. The "evil" and "well" melt in an instant, inseparable. There is no light or darkness, but rather the opposite.

film is a debate both on moral and intellectual. It is also the triumph of the position of detective Somerset, who believes that a group of individuals can not force change an entire society. There is a battle of wits between the police impeccable and the murderer, but overcome evil ends up simply because it is the symbol of an entire society corrupt (this is the strength of the majority.) By exposing the bitter end (death defended by David Fincher and Brad Pitt), the film becomes a true classic, because the climax is just the logical conclusion which is drawn as a tragedy from the beginning. Without doubt it is a fascinating film. Fincher is redeemed with a film that is the opposite of "Alien 3" solid, well-written, evocative. At last you can give free rein to his personality, unusual soberly abarrocado the gruesome twists of a plot impossible, planning to Welles, to Ray, taking a giant leap in a mediocre films that could be glimpsed, expendable. Perhaps "The Seven Deadly Sins "is not the masterpiece (which expression as hackneyed, cherished and missed) that many claim to be (not others), but no matter. Its intensity, its purely cinematic expression is there, as one of the most authentic examples of gender and amazing film in many years. Fincher had been based author of detail and passion. Star-turned-director, his next move would be more difficult and slippery than perhaps he had imagined. But the artistic life was never plain sailing for Fincher, although many may believe wrongly so.

"Solid, violent and intelligent"