Sieben
Se7en
Regie:
David FincherDrehbuch:
Andrew Kevin WalkerKamera:
Darius KhondjiMusik:
Howard ShoreBesetzung:
Brad Pitt, Morgan Freeman, Gwyneth Paltrow, Richard Roundtree, R. Lee Ermey, John C. McGinley, Kevin Spacey, Julie Araskog, Mark Boone Junior (mehr)Streaming (4)
Inhalte(1)
Bei der Jagd auf einen Ritualmörder werden zwei Detectives - Routinier Somerset (Morgan Freeman) und Hitzkopf Mill (Brad Pitt) - vor die härteste Zerreißprobe ihrer Laufbahn gestellt. Es scheint ihnen nicht nur der brutal-brilliante Killer, der seine Opfer nach dem Prinzip der sieben Todsünden hinrichtet, stets einen Schritt voraus zu sein, sondern der Fall droht auch ihre Existenz zu zerstören... (VCL Media)
(mehr)Kritiken (10)
Zusammen mit Das Schweigen der Lämmer der stärkste Psychothriller überhaupt. Eine Genre-Perle, in der jeder Filmemacher-Aspekt sein maximales Niveau erreicht hat. So wie die Nerven, die Emotionen und die Psyche der Zuschauer*innen. Ein düsterer Film, der dem Publikum schlaflose Nächte bereitet und den Atem verschlägt.
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Fincher is depressive again, in the way he only knows how. The murders are disgusting, especially the first one with the fat man is not very nice to see. The cops don't seem to know what a light switch is, so they keep shining their flashlights to make the most of the gloomy twilight. The perpetual rain doesn't help the mood, either, Scott knew that in Blade Runner. Depression alternates with depression and the interesting, gloomy screenplay plays into Fincher's hands, he is a master depression, we all know that. Add to this an irresistibly loathsome villain played by Spacey and a truly unusual ending for Hollywood and we get a clear five-star rating.
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Ein wirklich perfekter Essay über die "moderne Zivilisation und ihre morbide Brutalität". Mit diesem Film hat Fincher endgültig bewiesen, dass er zu den Filmemachern gehört, die einen unverwechselbaren Stil und vor allem das Talent haben, einen dramatischen Film mit einer Idee zu machen. Die Parallele zu Dante und der klassischen europäischen Literatur mag sehr simpel sein, aber die Botschaft von Sieben ist umso überwältigender. Es ist schwer, den Charakteren zu widerstehen, die dank ihrer hervorragenden schauspielerischen Leistung den Zuschauer so sehr in die Handlung hineinziehen, dass das Ende des Films auch für den Zuschauer eine Offenbarung und eine schmerzhafte Katharsis darstellt. Vor allem Morgan Freemans Rolle ist eine der besten, die je im Thriller-Genre geschaffen wurden. Und ich habe das Gefühl, dass Sieben die Grenzen des Genres erreicht hat. Wir leben in einer Zeit, die dem Begriff Sünde eine ganz neue Dimension verleiht. Der Film Sieben ist ein perfektes Beispiel dafür...
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A slowly flowing depression with a flood of rain, darkness, and uncertainty. A brilliant madman in the background, a silent and slightly shy police veteran, a young hard worker by his side, and his saddened wife. A fatal final half-hour and a finale that seems simple in the first second but gains strength and resonates in the viewer long after the movie ends. I highly recommend a second viewing, where several hints towards the punchline can be found. Jigsaw and other plagiarists can go laugh at themselves.
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I am going to be much soberer and in opposition to film fans on FilmBooster, who ranked Seven in the top ten, I have to say that in my opinion, the film has only one, but very significant plus in the form of David Fincher's atmospheric direction. Just like elsewhere in his work, he works magic with the camera, carefully creates scenes, plays with sound and imagery, and everything is subordinated to maximum effect and audience experience. Unfortunately, at the expense of logic, it is simply straightforward. Instead of being a crime thriller, it leans more toward the horror genre, specifically foreshadowing the later successful horror series Saw. The screenplay is overly complicated, just like in similarly tuned films with a brilliant manipulator, such as Primal Fear, and this simply would not work in reality. It is interesting to observe several film details where Fincher subordinates everything to the atmosphere. For example, wherever the characters enter, it must be dimmed and for God's sake, no one should press the light switch. They use flashlights or the room is sparsely illuminated by red flashes, to emphasize the gloominess of the environment and its mystery. The director chooses the most repulsive environments, neglected and dirty alleys on the outskirts, and old buildings with peeling facades, and plays even more with the interiors. These are usually much more dirty and devastated than would be possible in reality. The camera revels in decay and mold, which would have already alerted the surrounding tenants to some irregularities. The police officers enter an apartment with their guns raised and proceed to the last room, where they only then lift the cover off the victim, suddenly clutching their noses. Again, Fincher subordinates everything to the element of surprise. It is good to compare the dynamically shot chase scene in an apartment building with the chase scene on the roofs and in the apartments of an Arab quarter in The Bourne Supremacy. While the latter fits organically into the story, here the culprit should be able to run down the stairs and disappear through the main exit, but that would, of course, be artistically unattractive, so Fincher lets his villain and the pursuer run through parts of the house that probably no one has yet built and will never build because it would be an unapprovable architectural masterpiece. There are many similar absurdities, but the power of Fincher's unmistakable directorial style is so pronounced that it reliably conceals them in the eyes of the majority of viewers. Even I have to appreciate the atmospheric nature of the scene where Brad Pitt has a gun to his head and expects a shot. The brutality of the individual crimes naturally also captures the audience's interest, but my impression is lowered by the philosophical framework of the drama, with which I do not identify in the least. While another Fincher film, Fight Club, seemed like a great portrayal of the phenomenon of rebellion, anarchy, and consumerism in a modern metropolis, here the nihilism and depression seem inappropriate to me. Overall impression: 60%.
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(weniger)
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It’s not often that you get the chance to write a review of a movie like that on a day like this (7.7.2007). Se7en certainly ranks among the best ten movies I’ve ever seen. A perfect, engulfing atmosphere of a bleak city where nothing good ever happens, with the addition of one deranged psychopath with a strange plan. A simply brilliant screenplay. Great acting performances (especially the unforgettable Kevin Spacey). Fincher’s masterpiece. I don’t want to wallow in superlatives here, so I’m done.
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Eine ausgezeichnete Sache, die mich zum richtigen Zeitpunkt ergriffen hat, aber so wie Pitt hier sein Image dramatisch verändert hat und privat Gwyneth Paltrow den Vorzug gab, habe auch ich mich verändert und mein Ideal der ersten Hälfte der 90er Jahre an ihm verloren.
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The best film in its (sub)genre. David Fincher's camera antics and his ability to depict a depressive atmosphere are exactly what the theme of an elusive brutal killer needs, and it is difficult to find any holes in the screenplay or technical errors. The only thing that bothered me was the occasional fake rain, which was visibly artificial in many places (i.e. raining within a five-meter radius). The acting is flawless. The pair of detectives was portrayed exemplarily, the experience of age versus the fierceness of youth. The only action scene is very gripping, and the coldly depicted city, along with the dark camera filters, beautifully enhance the gloomy atmosphere full of brutal murders, junkies, and decaying corpses. The twist is undeniably brilliant, and even though Kevin Spacey only appears for a few minutes, it is precisely him who delivers the best performance.
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An unparalleled experience, a delight. Those who love dark crime thrillers about serial killers will adore Se7en, and so will do those who hate this kind of "entertainment" and laugh at monotonous scripts and shallow endings, because Se7en will shock them, suck them in, make them pant like a dog at the end, and inevitably teach them to love the genre... Impeccable direction that doesn't let up, teeming with creative ideas, and through the all-encompassing thick rain gives us a unique glimpse into the most chilling visual and narrative darkness ever seen on film. A perfect script, believable in its psychology and portrayal of the central characters' relationship, highly clever and subtle in its dialogue and non-violent reflection on the horrors of a society full of violence and murder, and finally shocking and surprising not only in its course, in the agonizing nature of the murders and the flawlessly sketched progress of the investigation, but above all in its twist, so unexpected and, thanks to Fincher's direction and shot after shot, so gripping that I wanted to stand up and scream loudly at the screen during the first two screenings. Perfect cinematography that always finds the right angle (I'm absolutely fascinated by the overhead shot of Pitt climbing a hanging ladder), an amazingly chilling soundtrack and a perfect bet on the eternally malfunctioning switches and the good old flashlights that accentuate all the blackness. A perfect film that cannot and will never be surpassed. 100% is not enough :)
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Undoubtedly one of the strongest ever representatives of the thriller genre, which makes an extremely unnerving, unsettling, and utterly evocative impression thanks to its impeccable psychological atmosphere and virtuoso direction. Morgan Freeman's superb performance as a brilliant investigator just before retirement and Brad Pitt's performance as an enthusiastic rookie afterwards "merely" enhance the unique experience, which I rank among the best films of the 90s hands down. David Fincher's first mega-cut into world cinema, which also firmly and clearly defined Fincher's unique style with its uncanny ability to create a depressing, perfectly immersive atmosphere.
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