《狂人日记》：读医的鲁迅和《七宗罪》中的连环杀手一样，深知想要叫醒铁屋（《》，也许还来自韦伯的《》）里装睡的人们，想要打断中国文化这个大酱缸里厚厚的积习（《》：“在中国，移一把椅子也是要流血的。”），“想要别人听你说话，拍拍他肩膀是不够的，必须给他震撼，这样人家才会仔细听你。” 这就是为什么他要带我们进入神经症患者（“狂人”是“迫害狂”，而《七宗罪》中的杀手则是宗教妄想狂 []）的知觉/直接主观图象——比如开篇的“今天晚上，很好的月光”，引入神经症作为作用于知觉的（主动）因素，来“突出一个主体诞生于世的艰难”（第 8 课？），从而揭露话语-权力（“他们的祖师李时珍做的‘本草什么’”、“易子而食”、“（吃人）这是从来如此……”......）这个机制扭曲了我们的看。
It’s a low-key scene, and one of the film’s more subtle ones, tucked away as it is around the end of *Seven’*s second act – the day before two further victims are discovered, and before the mysterious killer John Doe (Kevin Spacey) surrenders to police. It’s only on repeat viewings that it becomes clear that the information dished out in the diner scene is pivotal to what happens next, and it’s even arguable that, without the assured acting, directing and writing all working together, the entire film could have fallen apart if the sequence hadn’t worked.
然而，大部分人可能都没意识到：这个餐厅场景是全片最具转折性的时刻。请听我解释。
这是一个低调的场景，也是电影中更微妙的一个场景，它被巧妙地隐藏在《七宗罪》第二幕的结尾处——就在发现另外两名受害者之前，以及神秘杀手约翰·多伊（凯文·斯派西饰）向警方投降之前。只有在反复观看时，人们才会意识到餐厅场景中透露的信息对接下来发生的事情至关重要，甚至可以说，如果没有这个场景的成功演绎，如果没有演员、导演和编剧的完美配合，整部电影可能已经崩溃。
First, we have to buy the notion that Tracy is so lonely and desperate that she’d seek out Somerset – a person whom she’d only met once before – and tell him something so personal. That Freeman embodies Somerset with so much warmth, and that the earlier meeting between his character and Paltrow’s was so filled with easy-going charm and chemistry, makes it easier to be persuaded that the two forged a friendship in that earlier meeting.首先，我们必须接受这样的观念：特蕾西如此孤独绝望，以至于她会主动寻找索默塞特——一个她之前只见过一次的人——并告诉他如此私人的事情。摩根·弗里曼将索默塞特演绎得如此温暖，而他与帕特丽夏·阿奎特角色之间的早期会面充满了轻松的魅力和化学反应，这使得我们更容易相信他们在这早期会面中建立了友谊。
Paltrow’s vulnerability in the diner scene, and the care with which Fincher and cinematographer Darius Khondji film their back-and-forth, help underline the intimacy of the moment. We’re aware that something painful and important is being shared here, even if first-time viewers will have no clue as to how brutally it’ll pay off later.帕特丽夏·阿奎特在餐厅场景中的脆弱感，以及芬奇尔和摄影师达里乌斯·孔迪吉对两人互动的精心拍摄，都突出了这一刻的亲密。我们意识到这里正在分享一些痛苦而重要的事情，即使对于初次观看的人来说，他们无法猜到这会如何在后来残酷地得到回报。
Because, ultimately, this is the point in the film where screenwriter Andrew Kevin Walker provides the set-off for Seven’s bleak conclusion. Somerset says to Tracy that if she chooses not to keep the baby, then she shouldn’t tell her husband. Whether you agree with his advice or not, it’s a single line that will come back to haunt Somerset in the final act. Had Somerset and Tracy not shared this one secret, then John Doe’s taunt to Mills about his pregnant wife wouldn’t have carried so much dreadful resonance.因为，归根结底，这是电影中编剧安德鲁·凯文·沃克为《七宗罪》的悲惨结局提供转折点的时刻。索姆塞特对特蕾西说，如果她选择不留下这个孩子，就不应该告诉她的丈夫。无论你是否同意他的建议，这句话最终都会在最后一幕中困扰索姆塞特。如果索姆塞特和特蕾西没有分享这个秘密，那么约翰·多伊对米尔斯关于他怀孕妻子的嘲讽就不会有那么大的恐怖共鸣。
After all, in that fateful moment in the desert between Mills, John Doe and the unexpected delivery of a small box, Somerset may have convinced Mills to put down his gun, and not end his career by shooting Doe. It’s when Doe talks about Tracy “begging for her life and the baby inside her,” that Somerset himself loses his temper, thus revealing to Mills the truth.毕竟，在沙漠中米尔斯、约翰·多伊和意外递送一个小盒子的那个关键时刻，索姆塞特可能已经说服米尔斯放下他的枪，而不是通过射击多伊来结束他的职业生涯。当多伊谈论特蕾西“为她的生命和她腹中的孩子乞求”时，索姆塞特自己失去了耐心，从而向米尔斯揭示了真相。
It’s a blackly, horribly ingenious bit of plot construction – all the more so because, in a story that otherwise depicts Mills as impulsive and reckless and Somerset as wise and controlled, it’s the secret between Somerset and Tracy that causes everything to unravel in that moment.这是一个黑色而恐怖的巧妙情节构建——尤其令人震惊的是，在一个故事中，米尔斯被描绘成冲动鲁莽，而索姆塞特则被描绘成睿智自控，正是索姆塞特和特蕾西之间的秘密导致了那一刻一切的崩溃。
Andrew Kevin Walker once described one of Seven’s themes as being about the tension between optimism and pessimism – the youthful enthusiasm of Brad Pitt’s Mills versus Somerset’s burned-out cynicism. “Those dramatically-opposed points of view are pushing and pulling each other throughout the story,” Walker told Uproxx in 2015. “And then once pessimism is confirmed, even to the optimist who’s been arguing that the fight is always worth fighting, will the pessimist in the light of confirmation of all his worst predictions, will he stay or will he walk away?”安德鲁·凯文·沃克曾描述过《七宗罪》的一个主题，即乐观与悲观之间的张力——布莱德·皮特饰演的米尔斯的青春热情与索姆塞特的疲惫愤世嫉俗。沃克在 2015 年接受 Uproxx 采访时表示：“这些戏剧性对立的观点贯穿整个故事，相互推拉。然后一旦悲观被证实，即使是那个一直认为战斗永远值得争取的乐观者，当悲观者在所有最糟糕的预测被证实后，他还会留下还是离开？”
Those scenes of optimism and pessimism, hope and despair, are also present and correct in the diner scene. In just a handful of minutes, and just a few pages of economical dialogue, we learn about what unites two lonely people at different points in their lives (“I hate this city…”), what separates them (Tracy’s murmured, “I want to have children”) their regrets and their fears. It’s a scene that works on an emotional level, and also drives the plot in ways that are cleverly kept out of view.那些乐观与悲观、希望与绝望的场景，在餐厅场景中也同样存在且恰当。短短几分钟内，通过几页简洁的对话，我们了解到两个处于不同人生阶段、孤独的人所共同的东西（“我讨厌这座城市……”），他们之间的差异（特蕾西低语着“我想有孩子”），他们的遗憾和恐惧。这是一个在情感层面上起作用，同时也巧妙地隐藏了其推动情节发展的场景。
In Seven’s final moments, we see Mills horror-struck, processing in real-time what John Doe’s told him about the death of his wife. As Mills’ hand tightens around his gun, his face changing to something more purposeful, Fincher does something ingenious: he cuts in a few frames of Paltrow’s face, bathed in light.在《七宗罪》的最后时刻，我们看到米尔斯惊恐万分，实时处理约翰·多伊告诉他的关于他妻子死亡的事情。当米尔斯的手紧握着枪，他的表情变得更有目的性时，芬奇做了件巧妙的处理：他切入了几帧帕特洛的脸，她的脸沐浴在光中。
Here it is: 在此：
Credit: New Line Cinema. 版权：新线电影公司。
For years, this almost subliminal image led many viewers to think they actually saw Tracy’s severed head in a box, which of course they never did (a prosthetic head was reportedly made for Seven, but went unused). Rather, the last time movie-goers see Tracy is in that diner; eyes filled with sadness, pondering which path to take.多年来，这个几乎潜意识的画面让许多观众误以为他们真的看到了特蕾西的头颅被装在箱子里，当然他们其实并没有（据报道为《七宗罪》制作了假头，但并未使用）。实际上，电影观众最后一次看到特蕾西是在那家餐厅；眼中充满悲伤，思考着该选择哪条路。