The 7 deadly sins on celluloid

In honor of Halloween, I’d like to present seven films that are strong examples of the 7 deadly sins. Though all 7 films are outstanding, many of them are extremely graphic in their explorations of their subject matter. Tread bravely, but with caution.

Envy
Inside (2007)

On Christmas Eve, a pregnant widow named Sarah is hunted by a fearsome villain known only as The Woman (Beatrice Dalle). The Woman is determined to claim Sarah’s baby as her own-even if it means removing it by force with a long, sharp pair of shears. Perhaps the best horror film of the decade and certainly one of the most graphic and relentless-the level of blood, violence and unrelenting tension makes this one an emotionally draining experience-not for the squeamish.

Gluttony
La Grande Bouffe (1973)

Four bored, middle aged businessman retire to a mansion in Paris, fix themselves a lavish feast and sit down to eat-and eat and eat. Their plan-to commit suicide by eating themselves to death. This very black comedy makes a moralistic statement on the limits of pleasure one can actually derive from the external senses (as well as an undercurrent of criticism of bourgeoisie society) but be warned: this film becomes spectacularly gross. After seeing this film, you will not feel like eating for awhile.

Greed
There Will Be Blood (2007)

Daniel Day-Lewis deservedly won an Oscar for his performance as Daniel Plainview, a sociopath in the early 20th century who lives only for one reason: to become as rich as possible. He is the anti-Scrooge: as his love for oil and wealth grows, so does his hatred of all humans. He is asexual and eventually pushes away anyone close to him, including his adopted son. The purpose of the bizarre, much discussed final scene: he is “finished” because he really has nothing left to live for.

Lust
Salo, or The 120 Days of Sodom (1975)

An emotionally shattering experience that alternates between brilliant and unwatchable. It will haunt the viewer for days afterward. The simple, yet shocking plot: during the dying days of World War II, 4 Fascist leaders abduct 18 youths (9 boys and 9 girls) and use them as sex slaves. They abuse their captives, both sexually and psychologically, before eventually torturing and slaughtering them. Director Pier Paolo Passolini’s explosive adaptation of the novel by the Marquis De Sade tests the boundaries of what can be shown on the screen (yes, there is a “feast” with excrement as the main course). The 4 men are perhaps the strongest examples of pure evil ever seen in a film.

Pride
The Picture of Dorian Gray (1945)

One of the most elegant horror films ever made. In this adaptation of the famous Oscar Wilde novel, a stunningly handsome young man (Hurd Hatfield) sells his soul to an Egyptian God: he will remain forever young and handsome, while a portrait of himself will endure the ravages of age and sin. This mostly black and white film features two well placed shots of the portrait in vivid color. The first color shot of the portrait shows Gray at the height of his beauty; the second, after the portrait has shouldered the burden of years of Gray’s wickedness, is hideous and still carries a jolt. This film is a fine example of how the Production Code of the 1940s could actually enhance a film, as it leaves it up to the viewer to image just how dreadful Gray’s sins were.

Sloth
Five Easy Pieces (1970)

In the performance that solidified him as a star, Jack Nicholson plays Bobby Dupea, a piano prodigy who runs from his gift and instead settles into a routine life as an oil rigger in a small town. Though he argues that he wants to “see the world,” in truth, he is shallow and a coward. He is afraid not only of growing up, but also of achievement-he knows he has extraordinary talent, but wants no part of the success and responsibilities it might bring. The famous final scene is both very sad and infuriating, yet sums up Bobby Dupea perfectly.

Wrath
Irreversible (2002)

This brutal film shows the tragic consequences that blind rage can inflict on the attacker, as well as the victim. Late one night in Paris, two men beat a man to death over the rape of the girlfriend of one of the men. The murder and the rape are shown in graphic detail and are hard to stomach. Importantly, the film is told in reverse order. Presenting the horrors early allows them to haunt the entire film and reveals to the viewer where, during his fit of rage, horrific and careless mistakes were made by the boyfriend. His violence solves nothing.

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