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Cinema audiences once again welcomed back director Gabriele Muccino and his favorite Will Smith, who have been united once again to produce a film, after their successful collusion in the drama The Pursuit of Happiness. And once again we get endless desperation and world weariness served on a silver platter.

The social-romantic drama of Seven Pounds tells the tragic story of Ben Thomas as he tries to drastically improve the lives of seven strangers to obtain the release of a terrible guilt. On his path to redemption Ben not only tests the worthiness of those seven people, but also finds love that he thought he had lost.

The film gives us much to talk about; from brilliance of acting and striking camera direction over music and sound effects, to strong emotionality; Seven Pounds overwhelms us with impressions until the viewer is finally released. Meanwhile the original, not very substantial story, drags on like the waiting time for a donor kidney. The whole show of secrecy and flashbacks cannot belie the simplicity of the action and crucial shortcomings of the story. Unfortunately the concealment of the plot prevents the viewer from developing any emotional attachment to the main character.

Throughout the first half of the film, the director builds up a clutter of interweaved dream sequences, which he forgets to reunite properly in the end. On top of that, the film slips off into a love story and loses its focus on the ‘higher purpose’. The story showers us with a bunch of signs and allusions, but one sits there asking oneself where they all lead only to get fobbed off with a too short ending.

It seems as if the film wanted too much at the same time – the shattered world of a tragic hero, luck, conflicts, anger, disappointment, love, Christian allusions – but in the end only manages to scratch the surface, because none of the strands are brought to a round and satisfying conclusion.

Luckily the good performances of Will Smith (Ben Thomas) and Rosario Dawson (Emily Posa) make the best of the weak story and persuade us with expressiveness and, on the part of Dawson, authenticity. Although Will Smith’s acting seems modest in a very discreet way, it still leaves the mark of an over-the-top-bitterness.

Like in I Am Legend or The Pursuit of Happiness he again proves that he is perfectly capable of playing emotionally challenging roles. However his constant bitterness nearly drowns the viewer in a never-ending ocean of pathos that some might get seasick of so much emotionality and so few moments that actually appeal to reason. Here, less would a have been more.

Making a film about a human tragedy would actually have to involve humanity in the main character. Following a ‘higher purpose’ as Ben Thomas does, without any doubts, any inner struggles or conflicts or the wish to abandon his plan is nearly supernatural and really annoying.

As if he had known that the film would reveal shortcomings at nearly every corner, Muccino was sensible enough to hire Phillipe le Sourde as cameraman, whose exceptional shots amidst a great backdrop convey some larger-than-life symbolism. The music by Angelo Milli is not coherent insofar as there is a theme missing; his choice of songs seems completely arbitrary, as they may fit the scenes, but don’t fit together. The first half of the film is accompanied by instrumental music, while in the second half it suddenly switches to songs, like Muse’s version of ‘Feeling Good’. The pieces themselves are well made choices however and reflect the random composition of the whole film.

If you want to have a good cry or a valve for retained emotions, this film is certainly the best place to let them run free. If however you expect a coherent, satisfying story, at least let someone else pay for the ticket.