Similarities in Seven and Copycat Films

The primary elements in from each one contract be the law of nature on the one align and the resultant killer on the other, with the latter leaving a trail of bodies and the former trying to develop a write of the killer and to decode the symbolic clues he leaves behind. This cat-and-mouse game is make explicit in both films, and in each film the killer participates directly in the process by contacting the police force, quizzical them, leaving them clues intending that they will follow them so he post play with their minds and direct their actions as if they were puppets. Such games of power and obligate are common in this change of story. The police in real life rarely have contact with the serial killers of this world, the Zodiac killer in San Francisco and the Unabomber perhaps being exceptions, but the police in movies come alongly constantly become pawns in a game they do not understand when they are set about with a serial killer.

The serial killer has in emitrence become the target of choice for movie police departments and occur with greater frequency than they do in real life. It is undetermined that the audience feels a particular fear of such killers because in that respect seems to be no understandable reason for such crimes. The wriggle mind of a Jeffrey Dahmer fascinates the public even as they fall ba

This is alluded to by the younger scout's married woman when she meets with the honest-to-god detective and talks about her trepidations about liveliness in the city and about having her husband on this signifier of job. Her fears seem understandable if a bit overstated, but by the end of the film they have been horribly confirmed. The world of the police is often shown to be to a greater extent terrible than the public realizes, for they require with all the worst in human nature on a daily basis. In the context of this film, the older detective has, as they say, "seen it all," but he has remained a human being with understanding for others. It is the younger detective who has not developed that mannikin of acceptance of evil who is always on the edge.

It is also the older detective who begins to understand the medieval nature of the sad they are facing, the killer who is using the seven deadly sins as his pattern. He has no trouble finding sinners committing these specific sins, and his retribution is always two-edged in that he punishes a sinner and proves himself an even greater sinner in the process.

ck from the crimes committed. The dual response the audience has to this sort of criminal in films was apparent a few days ago with the great success of the film The Silence of the Lambs, a film in which the psychotic killer was given a particular human face in the form of Anthony Hopkins, more Machiavellian than most movie criminals and than any real criminal is wish wellly to be.

The look of the film is also medieval. The story takes smudge in a modern American city, but the show has been so desaturated and the look of the city made so low-spirited and foreboding that it might be a medieval town. Because of the smell of fear and age that covers the film, most people assume that the city is in the northeast, probably an industrial city blackened by soot. In fact, there is a street sign near the end of the film that points to Los Angeles as the site, though the film looks like no image of Los Ang
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