Conventions in Se7en

Conventions of a thriller

• Low key lighting • Quick cuts • Shadows • Tension music • Changes in the angle of shots • Diegetic sound of breathing • Black and white shots • Montage of shots • Protagonist is in the mercy of the Antagonist

The opening of Se7en, prior to the title sequence shows Somerset dressing in his flat. His possessions are neatly arranged and the scene shows him attempting to remove a piece of fluff from his jacket, emphasising his meticulous nature and attention to detail. However straight from this, there is a cut to the scene of the corpse which brings us straight into a horrific aspect of the film. This is particularly effective as it creates a large juxtaposition and contrast between Somerset humane appearance and the presence of death. This creates an unsettled feeling among the audience, which is almost required among a thriller as the intention is to keep the audience on the edge of their seats.

Throughout the film, the majority of scenes consist of a dreary low key lighting, as areas are explored through Somerset and Mill's flashlights. These distorted views as low lights are key conventions of a thriller that Seven adheres to.  In the scene where Somerset and Mills first explore the crime scene together, the film makes use of shadows, quick cuts , varying camera angles and tense music.

The setting of Seven also compliments the codes and conventions of a thriller through its uncomfortable use of rain. The endless rain creates a background noise throughout the city, that even in moments of silence, it can be heard. This use of environmental noise to build tension and frustration can similarly be seen in 12 Angry Men. Not only does the rain add to the dreary atmosphere, but it comes down in such a desperate way. The use of rain and water could link into the psychological themes of the film, and suggest an attempt to purify with water. As if to wash away the sins of the City. Interestingly enough, the rain stops when John Doe reveals himself and surrenders. It doesn’t rain again after this.
The film's use of the Seven sins, works well the thriller convention of often introducing disturbing elements from literature to add atmosphere. The film provides glimpses of Gustav Dore’s illustrations for Dante. This is similarly seen in films like The Exorcist and The Silence of the Lambs.

In conjunction with Propp's, Mills is the new kid, a typical protagonist of a thriller. He overestimates his youth and sees things from a younger perspectives of hope. Mills is ignorant to what he is about to be a part of. Somerset on the other hand, believes he has seen it all. He lives alone in what appears to be a rented apartment, this often being seen in thrillers. His outfit conveys the feel of a serious, but lost man. Neat, but faded. John Doe, is the clear antagonist. His character embodies evil, and while being addressed as a villain he also shows twisted psychological complexities. Smug, self-satisfied, intelligent and Analytical. Unlike most Thrillers, the film depends on the antagonists character to portray its psychological aspects in the film. His crimes are done in the intention 'to better mankind' with a motive to eradicate 'sinners'.

What is interesting about the character’s of Se7en, is that despite their contrasting viewpoints. They are all right in some aspects, and the audience may worryingly find themselves agreeing with the Ignorant Mills, the psychopathic Murderer, or the detached Somerset. Se7en becomes atypical in a sense when the story focuses less on the murders, mystery and action and turns into a character study. A wonderful psychological aspect of the film. In the case where the audience may find themselves agreeing with John Doe, Seven can be interpreted as a warning to them.
From Doe's death, the audience is not left with a feeling of satisfaction that Justice has been served. Instead they are left with a feeling of discontent, loss and anxiety. Killing Doe does not solve anything because evil still exists, although he dies - the antagonist still wins. He completes his masterpiece and achieved his goal of getting his message across, to both the characters and audience.

The film is seemingly about men who are unable to face reality, but then unveils itself to be about the monster within every person. Suggesting to the audience that they all have a 'John Doe' living within them, hoping for 'justice' to be served. The audience no longer fear the killer, but are scared of what they themselves would be capable of when morality is questioned. Similar to Noel Carroll's 'art horror', except we are not horrified by the on-screen monster, but what that monster represents. The movie focuses on what is considered punishable sins, and what is not in relation to Jon Doe.