The Movie

Seven, or Se7en if you’re into that whole smart-ass logo thing, is one of those movies that I find endlessly watchable. I love it. It never dulls, never seems worn with repeated viewings, its themes and visuals always sit comfortably in my mind and my eyes. Some people have mood music, I have mood movies and there are definitely times when Seven is the movie for my mood.

David Fincher managed to rise from the ashes of his much-maligned debut, Alien3, with this audacious, poetic take on the serial killer movie. He has since become one of America’s most original and inventive filmmakers. Much imitated but never bettered, Seven is the perfect example of suggestive horror. Of all the murders (or forced suicides) that take place in the movie, we actually witness only one being perpetrated. Of the others, we just see glimpses of the aftermath and our imaginations do the rest. Centred by outstanding performances from both Brad Pitt and Morgan Freeman, Seven is dark, contemplative and merciless at its resolution.

The Scene

In a gloomy, unnamed city, new recruit Detective Mills (Pitt) and seasoned veteran Detective Lt. Somerset (Freeman) are investigating a series of murders which appear to be have been based upon the seven deadly sins. With victims mounting and very little to go on, the two men pursue the investigation in their own particular way…

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Why I Love It

Intermission

It would have been easy to pick some of the more recognisable scenes from Seven; one of the crime scenes, perhaps, or that infamous final scene with the box. But in the middle of all the darkness, horror and endless rain of Fincher’s movie sits this thoughtful and rather beautiful little moment of calm. It is almost an intermission, and I love that.

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The Music

Air on a G String is one of my favourite pieces of classical music, and Bach’s melancholy masterpiece suits the languid, pensive tone of this scene perfectly. The fact that it seems far more out of place in the moments involving Pitt’s Detective Mills than it does with Freeman’s Detective Lt. Somerset speaks volumes for who they are.

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The Location

I’m not entirely sure where this scene was filmed, but I wish there were a library like that where I live. It’s gorgeous! Almost all of Seven is set in run-down, beat-up looking buildings and offices, rain soaked and maudlin. The library, in contrast, is like some grand museum, with high ceilings and stone floors. From his familiarity with the Night Watchmen, you just know that Somerset comes here often, perhaps for refuge from the hellhole he lives in. And who can blame him?

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Highlighting the Differences

Seven is very much a character study of two contrasting police officers; the young, idealistic Mills and the older, wizened Somerset. This scene gives us a brief but telling comparison of men and methods. While Mills sits, beer in hand, endlessly studying the crime scene pictures, Somerset hits the library. Mills exists in the moment, for him all the answers are there in the event itself. Somerset likes to look deeper, to the past and to the things that may have influenced the event. Mills’ crime scene photos depict the recent crimes, that might seem original in their detail and savagery. Somerset’s reading choices are a poetic reminder that man’s cruelty to man is nothing new.

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.Seven may not be the most cheerful and uplifting of movies. It is harrowing, pessimistic and offers little in the way of hope when the end credits roll. But there are few films quite like it. It possesses an element of dark beauty, which is never more evident than in this scene.

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The Movie

Raiders of the Lost Ark is my all time favourite celluloid experience, bar none. There’s no other movie like it. Any collaboration between George Lucas and Steven Spielberg had a high chance of providing something special, and although none of the sequels lived up to the magic of this first crack of the whip, Raiders was a shining nugget of movie gold. There are certainly other movies that have connected with me more on an emotional or intellectual level, but no film quite gives me the pure chills, the goosebumps, that I get from Raiders of the Lost Ark. No other movie so effortlessly reminds me why I love cinema quite like this one. And no scene is a better example of why than the opening scene.

The Scene

South America, 1936. Indiana Jones (Harrison Ford) and his companion Satipo (Alfred Molina) have located a remote, hidden temple. We’ve already had a taste of what kind of character this guy in the hat is after he’s seen off an armed traitor in his group, using just a bullwhip. Classy.

The two men enter the temple…

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Why I Love It

The Idea

What an opening scene for a movie. What a way for a character to introduce himself. What a piece of pure, unpretentious, fluid cinema. There are few directors so adept at making the ridiculous seem plausible like Steven Spielberg, which is what made him the perfect choice to make Raiders of the Lost Ark. The idea was to bring back the old Saturday morning adventure serials, with their cliff-hanger endings and preposterous scrapes. In this, they succeeded and then some. The opening scene immediately drops us into Indiana’s life at its most exciting, almost as if we have just caught the end of last week’s episode.

The Icky Factor

Spielberg understands that as well as ‘oohs’ and ‘ahhs’, audiences also enjoy the odd ‘yuk!’ The Indiana Jones movies are crawling (literally) with moments such as these. Having already given us an army of tarantulas, we are then treated to the nasty fate of Dr Jones’ predecessor, Forrestal. He even makes squelchy noises as his decomposing head turns Indiana’s way. Yes!

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Walking the Traps

A bunch of faces which shoot poison darts? No problem. Just don’t tread on the darker, diamond shaped stones. This should seem like a breeze when you think about it, but thanks to Spielberg’s slow tracking shot along the wall of faces, and John William’s steadily building score, it seems more like the worst ever drink driving test.

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The Intimate Zoom

Having reached the Golden Idol, Indy stops for a moment. With Williams’ music reaching a crescendo, Spielberg takes time for a slow zoom onto the Archaeologist and his prize. For Indiana Jones at that moment, there is nothing in the world but he and the Idol. It’s the perfect little moment of character illustration. Then, we pull out again and it’s back to business. Gives me a shiver every time.

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Ford Falls Over

The boulder rolling down toward Jones has long since become an iconic image, but what I love about this part is the fact that, having done 10 takes of Harrison Ford outrunning the huge fibreglass ball, Spielberg kept the one take where Ford fell over. It gives the scene a little sprinkle of authenticity, and I’m sure the panic on Ford’s face is genuine.

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Trivia

There is a continuity error at the beginning of the scene. As Indiana Jones and Satipo enter the temple, they pass through a huge cobweb. When Jones leans downwards to walk through the web, there are spiders clearly visible on his back. Cut to a shot from behind the pair, and we can see that Indy’s back is now clear. Then Satipo notices spiders on Indy’s back! Magic South American disappearing tarantulas or Continuity Editor’s day off?

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It doesn’t matter, of course. One small continuity error can’t stop this being my favourite scene from my favourite movie. Long may it give me goosebumps and bring a cheesy smile to my face!