It's taken me a long time but I've finally managed to see Lars von Trier's debut feature film. And boy, was it worth the wait! Those who are mainly familiar with his recent work might find this fascinating and visually stunning movie a bit of a shock to the system, but if you've seen his superb thriller 'Europa' you will have a better idea what to expect. This was made way before von Trier's vow of cinematic chastity, and he pulls all the stops out. 'The Element Of Crime' is a future noir and deliberately references 'Blade Runner', but there are also dollops of David Lynch in there, Tarkovsky, Terry Gilliam and possibly even Cocteau. It's such a kitchen sink mix of influences that each viewer will probably see something else echoed in it. That's not to say the movie can only be appreciated by movie snobs and trainspotter types, it's a very enjoyable viewing experience in its own right. The cast is a very interesting and eclectic mix. The lead Brit character actor Michael Elphick is recognizable from 'The Elephant Man' and 'Withnail And I' among many other things. He is supported by Shakespearean veteran Esmond Knight, 'The Time Bandits' Jerold Wells, and Me Me Lai, best known for cannibal exploitation movies by Deodato and Lenzi. Quite an odd group of actors but they are all very good and fit together well. The movie itself is a mystery, and if the plot doesn't suck you in the amazing visuals will. The first time I watched 'The Element Of Crime' I was slightly disappointed, but a second viewing the next day really opened my eyes. Lars von Trier is one of the most interesting and original directors currently working, but he is certainly no late bloomer. 'The Element Of Crime' shows he was absolutely brilliant and innovative from the very beginning. This unique film is highly recommended for science fiction buffs and arthouse fiends alike. After you've digested it (and multiple viewings might help) watch 'Europa' which is even more impressive in my opinion.
55 Reviews
"The Silence of the Lambs" meets "Delicatessen"
Benedict_Cumberbatch3 May 2008
Lars Von Trier's feature début is a stylish, extremely bizarre and intriguing tapestry about an ex-cop (Michael Elphick) who obsessively pursues a serial killer. Playing with different film genres and supported by a fantastic production design, "The Element of Crime" was very different from what I expected, but not in a bad way. This is the first film in Lars' 'Europe trilogy', followed by "Epidemic" (1987) and "Zentropa" (1991). Influenced by Fritz Lang, Terry Gilliam and many others, the film also has a voice of its own (Von Trier's raging verve); I'd call it "The Silence of the Lambs" meets "Delicatessen", so you can have an idea of how bizarre it is. If that sounds interesting to you, you should check it; even if you're not into the likes of "Dogville" or "Breaking the Waves", you may still appreciate it. Interesting for Von Trier fans and admirers of puzzles alike. 8/10.
Groundbreaking use of cinematic styles and expressions
Camera-Obscura23 September 2006
Some called it the kick in the pants cinema needed, the savior of cinema and work of genius. Others find Lars von Trier's debut feature unbearably pretentious and consider this a beautiful but utterly empty work of art. Whatever your opinion will be after seeing this film, you're almost guaranteed to have strong feelings about it afterwards and will almost force you to reconsider the possibilities of the medium of film once again.
Shot in English, ELEMENT OF CRIME was the first film in the Europe-trilogy, followed by EPIDEMIC (1987) and ZENTROPA (1991) and is best described as a futuristic neo-noir crime thriller. Von Trier never intended this film to be part of a trilogy. He only came up with that concept right before filming on ZENTROPA started. Actually, the three films are all very different and the only thing they have in common is a vaguely defined theme of "Europe" (practically all the films made in Europe deal with the subject in some way) and that they all start with the letter E. It's a practical joke to give his films some extra cachet, just as he's doing with his America-trilogies now. Set in the near future, the film gives an apocalyptic view of a decayed and demonic Europe, stunningly photographed in yellow and sepia colours with a vision of constant darkness (no ray of light whatsoever in the film), abandoned buildings and almost constant rain. Police detective Fisher is called in to solve a series of murders of small girls. In the process he gradually comes to realize that he must follow in the footsteps of the assumed murderer, finally completing the murderous pattern himself.
Von Trier's passion about Europe is almost exclusively a deep and long-going fascination with Germany, the catalyst of modern history, that has been the defining factor in Europe's faith for most of the twentieth century. This film, as ZENTROPA and to a lesser extent EPIDEMIC, paint the apocalyptic picture of a world, resemblant of post-war Germany, with not just the physical damage involved, but with people who were emotionally battered as well. It's one thing to lose your belongings, even your relatives, but they didn't just lose everything they had, they lost morally as well. Von Trier presents to us a sort of neitherworld where morals are discarded and people are merely trying to survive.
Not an easy film, to be sure. It was rewarded with a technical prize at Cannes in 1984, but was denied the grand jury prize, mainly because of Dirk Bogarde, who headed the jury, and reportedly was appalled by the film. He thought von Trier wanted to put an end to cinema and destroy the medium of film altogether. He threatened to pull out of the jury, if the film got any prizes. Apparently, they somehow managed to give the film this award for technical achievements. Relatively harmless and who would notice anyway? In interviews Von Trier blatantly claims that his film was historically by far the most important that year and this claim can arguably be protracted for a considerable longer period of time.
Could this film be recommended for your enjoyment or regular entertainment value? No, it can't. But most movies can't. Historically however, this film is important, if there ever was one. This one of the few examples of a film that poses real questions about the way we judge film. Perhaps it's best enjoyed, and I don't want to sound pretentious myself here, by the more experienced moviegoer and for me the film worked best the second or third time I saw it. Upon it's first release in Denmark, half the people - even ardent cinema lovers - were running for the exits within the first half hour.
To the horror of many and delight of some, it's already a staple for students at many film academies, and understandably so. The film is an innovative panache of cinematic styles and expressions, gorgeous sets, the yellow lighting (they used very powerful natrium lights) and stuffed with references and allusions to earlier cinema, like Andrei Tarkovsky and BLADE RUNNER. Any reference to Tarkovsky will probably have the other half still watching running for the exits as well, but cinematic literacy is easily misunderstood.
Not my favorite or the most enjoyable in any sense, so one star off because of the silly detective story and the sometimes over-pretentiousness, otherwise a stunning work of visual art. I think everyone with an interest in cinema should see this film.
Camera Obscura --- 9/10
Shot in English, ELEMENT OF CRIME was the first film in the Europe-trilogy, followed by EPIDEMIC (1987) and ZENTROPA (1991) and is best described as a futuristic neo-noir crime thriller. Von Trier never intended this film to be part of a trilogy. He only came up with that concept right before filming on ZENTROPA started. Actually, the three films are all very different and the only thing they have in common is a vaguely defined theme of "Europe" (practically all the films made in Europe deal with the subject in some way) and that they all start with the letter E. It's a practical joke to give his films some extra cachet, just as he's doing with his America-trilogies now. Set in the near future, the film gives an apocalyptic view of a decayed and demonic Europe, stunningly photographed in yellow and sepia colours with a vision of constant darkness (no ray of light whatsoever in the film), abandoned buildings and almost constant rain. Police detective Fisher is called in to solve a series of murders of small girls. In the process he gradually comes to realize that he must follow in the footsteps of the assumed murderer, finally completing the murderous pattern himself.
Von Trier's passion about Europe is almost exclusively a deep and long-going fascination with Germany, the catalyst of modern history, that has been the defining factor in Europe's faith for most of the twentieth century. This film, as ZENTROPA and to a lesser extent EPIDEMIC, paint the apocalyptic picture of a world, resemblant of post-war Germany, with not just the physical damage involved, but with people who were emotionally battered as well. It's one thing to lose your belongings, even your relatives, but they didn't just lose everything they had, they lost morally as well. Von Trier presents to us a sort of neitherworld where morals are discarded and people are merely trying to survive.
Not an easy film, to be sure. It was rewarded with a technical prize at Cannes in 1984, but was denied the grand jury prize, mainly because of Dirk Bogarde, who headed the jury, and reportedly was appalled by the film. He thought von Trier wanted to put an end to cinema and destroy the medium of film altogether. He threatened to pull out of the jury, if the film got any prizes. Apparently, they somehow managed to give the film this award for technical achievements. Relatively harmless and who would notice anyway? In interviews Von Trier blatantly claims that his film was historically by far the most important that year and this claim can arguably be protracted for a considerable longer period of time.
Could this film be recommended for your enjoyment or regular entertainment value? No, it can't. But most movies can't. Historically however, this film is important, if there ever was one. This one of the few examples of a film that poses real questions about the way we judge film. Perhaps it's best enjoyed, and I don't want to sound pretentious myself here, by the more experienced moviegoer and for me the film worked best the second or third time I saw it. Upon it's first release in Denmark, half the people - even ardent cinema lovers - were running for the exits within the first half hour.
To the horror of many and delight of some, it's already a staple for students at many film academies, and understandably so. The film is an innovative panache of cinematic styles and expressions, gorgeous sets, the yellow lighting (they used very powerful natrium lights) and stuffed with references and allusions to earlier cinema, like Andrei Tarkovsky and BLADE RUNNER. Any reference to Tarkovsky will probably have the other half still watching running for the exits as well, but cinematic literacy is easily misunderstood.
Not my favorite or the most enjoyable in any sense, so one star off because of the silly detective story and the sometimes over-pretentiousness, otherwise a stunning work of visual art. I think everyone with an interest in cinema should see this film.
Camera Obscura --- 9/10
Schmuck of Ages
WriterDave26 April 2003
Hypnosis and criminology get the once over in this highly disturbing first entry from maverick film-maker Von Trier. A washed up profiler returns home to a post-apocalyptic Europe from Cairo to investigate "The Lotto Girl" murders and becomes determined to prove the methods of his mentor (who has since gone mad) in catching the serial killer. Odes to Hitchcock and other classic film noir abound.
Von Trier manipulates every aspect of every shot (the use of color tones is especially alarming) to create a totally fantasized vision of psychological torture. This, much like his follow up masterpiece, "Zentropa" is the polar opposite of his "no frills" Dogma classics of more recent years "Breaking the Waves" and "Dancer in the Dark." Love them or loathe them, you can't deny the talent and thought that went into making these drastically different works or film art.
Unfortunately, by setting "The Element of Crime" in such a vaguely distant future (I can only guess this is Europe in nuclear winter) and pacing the film to be so hypnotically listless, there really is no heart to this film. "Zentropa" had historical context and better executed tension, and is thus far superior. The only context "The Element of Crime" has is someone else's nightmare.
The screenplay seems to be ahead of its time, as there are many depressingly cynical one-liners that David Fincher wish he had put in "Fight Club." That is the only hint of humor at all to break the oppressive feel of this film, and it is very very dark and nihilistic humor at that. Alas, while you can study and find value in the technical aspects of this film, there is no "joy" to be found, and we, much like the protagonist must awaken from this film nightmare by screaming "I believe in joy!"
Side Notes: ala Hitchcock, Von Trier has a cameo as "the schmuck of ages."
Von Trier manipulates every aspect of every shot (the use of color tones is especially alarming) to create a totally fantasized vision of psychological torture. This, much like his follow up masterpiece, "Zentropa" is the polar opposite of his "no frills" Dogma classics of more recent years "Breaking the Waves" and "Dancer in the Dark." Love them or loathe them, you can't deny the talent and thought that went into making these drastically different works or film art.
Unfortunately, by setting "The Element of Crime" in such a vaguely distant future (I can only guess this is Europe in nuclear winter) and pacing the film to be so hypnotically listless, there really is no heart to this film. "Zentropa" had historical context and better executed tension, and is thus far superior. The only context "The Element of Crime" has is someone else's nightmare.
The screenplay seems to be ahead of its time, as there are many depressingly cynical one-liners that David Fincher wish he had put in "Fight Club." That is the only hint of humor at all to break the oppressive feel of this film, and it is very very dark and nihilistic humor at that. Alas, while you can study and find value in the technical aspects of this film, there is no "joy" to be found, and we, much like the protagonist must awaken from this film nightmare by screaming "I believe in joy!"
Side Notes: ala Hitchcock, Von Trier has a cameo as "the schmuck of ages."
More Subjective reality
AdFin14 February 2002
This is yet another film that easily conforms to my theory of Subjective Reality (see Kafka), to be honest it may not even be my theory, but whose ever it was, it has been distorted to my own way of thinking. The Element of Crime begins with a burnt-out cop (Fisher, played by Michael Elphick) who has found his way back to Cairo (after a strenuous case in Europe), being placed under hypnosis by a therapist so the root of Fisher's problems can be discovered. From the first frame Lars von Trier and cinematographer Tom Elling set up the haunting atmosphere, from the shot of the donkey rolling in the dirt, to the drab, blurry images of Egypt. But after Fisher has been placed under hypnosis the world we see is a world of constant darkness, and where the only light is the sludgy yellow sepia. This is not a stylish decision, merely a way of highlighting the murkiness of Fisher's memory, as he digs deeper into the mystery of Harry Grey we soon see the odd flash of a blue police light, von Trier's way of pointing out significant moments in Fisher's recollection.
The pull of The Element of Crime (the film) is that part of Fisher's training refers to The Element of Crime (the book), a journal for catching criminals that involves the pursuer putting themselves into the shoes of the criminal, to live, sleep and breath their lives until they are almost one with them. And that is what leads Fisher on his path, as he is soon recreating the crime scenes and scenarios that Grey might have gone through. Now this all sounds very conventional, but no. Von Trier deliberately paces the film slowly, allowing all the characters to be set-up and, even if they are not really there for any other purpose than to drive the plot. The character of Kim for example, her function is nothing more than plot devise (or to take her clothes off as one reviewer put it). These are all hallmarks of subjective reality, that none of the characters other than Fisher possesses any force in the outcome of their world.
This being von Trier's first film, and me being aware that his cinematic style has changed somewhat over the years, I was expecting the film to look nothing like his other work, but there wasn't too much of a difference, there may have been more attention to mise-en-scene and sound design (most obvious in the excellent sequence where Fisher and Kim recreate the night when Grey met his mistress on the bus), but the film looked so much like the Kingdom that it was familiar, I was more shocked when I saw the drastically different Europa. Now that is a major difference, where as Europa looked like the work of a master film-maker continuing his evolution, The Element of Crime looked like the film of a young director, trying out new techniques, referencing his hero's and gleefully deconstructing the role of film-noir (again handled in Europa).
But the fact that the film looks small scale does not devalue it one bit, as a first film it's an accomplished piece that shows the growing talent that would be nurtured into Breaking the Waves. If at times too complicated and too self knowing for its own good, it's best to allow the film to wash over you, putting yourself, much like Fisher into a dream-like state. The acting is good, but not as good as von Trier would later wrangle out of actors, and for a British audience it's a bit disconcerting to see the star of Boon performing sex scenes and slipping further into his own insanity. So, Part art-house thriller, part film-noir pastiche and part eighties pop video, The Element of Crime is by no mean as easy film to categorise or to understand. It is however a film that deserves to be studied and interpreted, if you are to get the most out of it, a true work of cinematic art. 10/10
The pull of The Element of Crime (the film) is that part of Fisher's training refers to The Element of Crime (the book), a journal for catching criminals that involves the pursuer putting themselves into the shoes of the criminal, to live, sleep and breath their lives until they are almost one with them. And that is what leads Fisher on his path, as he is soon recreating the crime scenes and scenarios that Grey might have gone through. Now this all sounds very conventional, but no. Von Trier deliberately paces the film slowly, allowing all the characters to be set-up and, even if they are not really there for any other purpose than to drive the plot. The character of Kim for example, her function is nothing more than plot devise (or to take her clothes off as one reviewer put it). These are all hallmarks of subjective reality, that none of the characters other than Fisher possesses any force in the outcome of their world.
This being von Trier's first film, and me being aware that his cinematic style has changed somewhat over the years, I was expecting the film to look nothing like his other work, but there wasn't too much of a difference, there may have been more attention to mise-en-scene and sound design (most obvious in the excellent sequence where Fisher and Kim recreate the night when Grey met his mistress on the bus), but the film looked so much like the Kingdom that it was familiar, I was more shocked when I saw the drastically different Europa. Now that is a major difference, where as Europa looked like the work of a master film-maker continuing his evolution, The Element of Crime looked like the film of a young director, trying out new techniques, referencing his hero's and gleefully deconstructing the role of film-noir (again handled in Europa).
But the fact that the film looks small scale does not devalue it one bit, as a first film it's an accomplished piece that shows the growing talent that would be nurtured into Breaking the Waves. If at times too complicated and too self knowing for its own good, it's best to allow the film to wash over you, putting yourself, much like Fisher into a dream-like state. The acting is good, but not as good as von Trier would later wrangle out of actors, and for a British audience it's a bit disconcerting to see the star of Boon performing sex scenes and slipping further into his own insanity. So, Part art-house thriller, part film-noir pastiche and part eighties pop video, The Element of Crime is by no mean as easy film to categorise or to understand. It is however a film that deserves to be studied and interpreted, if you are to get the most out of it, a true work of cinematic art. 10/10
I'm gonna f8ck you back to the stone age.
lastliberal31 January 2009
How to describe a film so avant-garde that Dirk Bogarde threatened to quit the Cannes jury if it got an award? A film that references Blade runner, with a burned-out cop (Michael Elphick) brought back into a futuristic Europe to find a serial killer. A film that has been described by some as "The Silence of the Lambs" meets "Delicatessen".
Fans of David Lynch may thrill at this futuristic film noir. Many will run for the exits, as it takes quite a bit of time to develop.
It is Lars von Trier's first English-language film, and it is in a sepia-tone that adds to the feeling that Europe is crumbling. Water is an element that flows throughout, again adding to the feeling that something is rotten.
Elphick hooks up with Me Me Lai in her last film. She had done a lot of cannibal work before this - an interesting combination of actors.
Elphick goes into a experimental drug-induced hypnotic state to try and recreate the crimes and catch the killer. Things get really surreal from here.
Cinematography, sound, and special effects were all superb in this very strange film.
Fans of David Lynch may thrill at this futuristic film noir. Many will run for the exits, as it takes quite a bit of time to develop.
It is Lars von Trier's first English-language film, and it is in a sepia-tone that adds to the feeling that Europe is crumbling. Water is an element that flows throughout, again adding to the feeling that something is rotten.
Elphick hooks up with Me Me Lai in her last film. She had done a lot of cannibal work before this - an interesting combination of actors.
Elphick goes into a experimental drug-induced hypnotic state to try and recreate the crimes and catch the killer. Things get really surreal from here.
Cinematography, sound, and special effects were all superb in this very strange film.
Talented and promising debut film; a dystopian murder case like no other,
akash_sebastian13 August 2015
Lars von Trier's debut film is really remarkable. Monochromatic sepia tone, always night, water everywhere, voice-over throughout - all these elements help in creating an eerie dystopian atmosphere where a serial killer has been killing young girls. The lead protagonist Fisher is narrating the events to his therapist by recollecting his memories under hypnosis, so we can't be sure whether the place was actually like that, or this is how Fisher perceives and remembers it, or maybe the hypnosis has taken him into his memories in a dreamlike fashion. It doesn't really matter which one it is; it essentially creates an intriguing environment to investigate the murder case.
How getting into the shoes and path of a serial killer can drive one mad is shown in an intriguing way, but I wish they had explored the motives and life of the killer a little more.
von Trier shows such talent and promise in his first film itself. The case, the storytelling style, the cinematography, everything really works for this film and makes it one of a kind. I was transported into this dreamlike dystopian place trying to solve the murder along with Fisher, and the credit for that goes to von Trier. There are few brilliantly shot and uniquely lit scenes which are really captivating and memorable.
How getting into the shoes and path of a serial killer can drive one mad is shown in an intriguing way, but I wish they had explored the motives and life of the killer a little more.
von Trier shows such talent and promise in his first film itself. The case, the storytelling style, the cinematography, everything really works for this film and makes it one of a kind. I was transported into this dreamlike dystopian place trying to solve the murder along with Fisher, and the credit for that goes to von Trier. There are few brilliantly shot and uniquely lit scenes which are really captivating and memorable.
the crazy European murder investigate blues of Lars von Trier
Quinoa198426 February 2010
Few feature-directorial debuts can astound so greatly and at the same time puzzle so much in a sense of the macabre. The Element of Crime relishes, bathes in the unusual in cinematographic technique, while giving new meaning to a science-fiction 'neo-noir'. The plot seems simple enough: man on a case to hunt down a killer, and using a code called the 'Element of Crime' to get into the headspace of the killer, follows a list of 'trailing' of the killer to get to him step-by-step. The cop, Fisher, is so wrapped up in the case that it starts to bleed into the rest of the environment around him, a barren landscape with criminals all over the place and a architectural sense of madness (anarchy, we're told, rules over freedom in this unnamed city).
It is simple enough, and at times von Trier gives us information to keep to where it's going. But it's strangely a hard story to follow because of how much the director is fond much more of the technique at his disposal. This is an experiment that makes Alphaville look comfy. It's slow camera movements, sometimes echoing (if not outright ripping off) the sense of the calm, meditative movement of Tarkovsky's Stalker. And some of the movements and manner of speaking of the characters just go off the wall. Nothing is of the usual here, and the actors perform their lines, while very well, sometimes in a trance. Other times we get the narration, of sorts, between Fisher and his former boss or other back in Cairo. It is a story that does dig into the mystery, and we can follow it with some engagement, but that's not fully, I think, von Trier's intention.
What he does, as a precursor of his future work, is to get us in a state of mind. Some will want to walk away from it, and I don't blame you if you do. Element of Crime confronts the viewer without doing a talk-to-the-camera moment. It's about the tone and look of the piece, its sepia decay, a view of Europe that is about as hopeful as an orphan bonfire. And yet it is incredibly compelling in how von Trier gets us, as a filmmaker, interesting in what happens in this world. It's got a confounding beauty and horrific wonder about it, an expressionist going through a somber melody that is far from 'entertaining', but carries an artistic pulse that is frighteningly alive. That it also carries the guts of a hardboiled film-noir always lurking in the shadows marks it as a hybrid. Perhaps it's like a fever dream of one of those stories or movies where an anti-hero is fully transformed and made damned.
The Element of Crime made me weirded out at certain points, and horrified by some of the extremes shown (i.e. the death of a horse, a constantly rotating camera around Fisher in manic pain, a glass breaking in a shot that seems to be from another one). Certain times I almost didn't know whether I loved it or hated it. By the end, after stewing about it for a while, I realized I was in the middle. It's a film I'll want to return to, and I'll be curious to see my own response to it - a rich film of dark, even mortifying shades.
It is simple enough, and at times von Trier gives us information to keep to where it's going. But it's strangely a hard story to follow because of how much the director is fond much more of the technique at his disposal. This is an experiment that makes Alphaville look comfy. It's slow camera movements, sometimes echoing (if not outright ripping off) the sense of the calm, meditative movement of Tarkovsky's Stalker. And some of the movements and manner of speaking of the characters just go off the wall. Nothing is of the usual here, and the actors perform their lines, while very well, sometimes in a trance. Other times we get the narration, of sorts, between Fisher and his former boss or other back in Cairo. It is a story that does dig into the mystery, and we can follow it with some engagement, but that's not fully, I think, von Trier's intention.
What he does, as a precursor of his future work, is to get us in a state of mind. Some will want to walk away from it, and I don't blame you if you do. Element of Crime confronts the viewer without doing a talk-to-the-camera moment. It's about the tone and look of the piece, its sepia decay, a view of Europe that is about as hopeful as an orphan bonfire. And yet it is incredibly compelling in how von Trier gets us, as a filmmaker, interesting in what happens in this world. It's got a confounding beauty and horrific wonder about it, an expressionist going through a somber melody that is far from 'entertaining', but carries an artistic pulse that is frighteningly alive. That it also carries the guts of a hardboiled film-noir always lurking in the shadows marks it as a hybrid. Perhaps it's like a fever dream of one of those stories or movies where an anti-hero is fully transformed and made damned.
The Element of Crime made me weirded out at certain points, and horrified by some of the extremes shown (i.e. the death of a horse, a constantly rotating camera around Fisher in manic pain, a glass breaking in a shot that seems to be from another one). Certain times I almost didn't know whether I loved it or hated it. By the end, after stewing about it for a while, I realized I was in the middle. It's a film I'll want to return to, and I'll be curious to see my own response to it - a rich film of dark, even mortifying shades.
Like watching a Simpson's character being pulped and put into a blender
asda-man5 July 2018
As a Lars Von Trier fan I thought it was about time that I took a look at his first three feature film and bought the 'Europe' or 'E' trilogy on Amazon (other retailers are available thank you please). Although Lars himself isn't a particularly likable character, his films are wonderfully distinguishable. Breaking the Waves and Dancer in the Dark are amongst my all-time favourites, and I find myself consistently drawn to his 'Depression' trilogy which imagines Charlotte Gainsbourg in various levels of mental distress. After watching The Element of Crime, it's clear to see how far Lars has progressed as a filmmaker.
The Element of Crime is like watching one of The Simpson's being pulped to death and put into a blender, an incoherent yellowy mess. It opens with some interesting surreal imagery depicting a horse being pulled out of some water. It left me hoping for a nightmarish Lynchian journey and whilst it was certainly odd, I found myself wanting to float to actual dream land rather than compelled to watch the one presented on screen.
I couldn't tell you what the film was about. The back of the DVD calls it a neo-noir about a cop tracking down a serial killer and that's about the gist I got as well. Some English bloke drives around in a beaten-up tin car and pointlessly encounters people. The dialogue is completely illogical and never makes sense, this means that you can't feel any sort of connection to the characters or care about what they're doing. The film is entirely interested in bizarre visuals and fancy camera movements.
There's no denying the strong sense of style. The cluttered mise-en-scene and strange lighting creates a stark atmosphere, however this simply isn't enough to sustain a 100 minute movie. I'm afraid to see what Epidemic and Europa now have to offer, I can only hope that they're an improvement on this boring mess.
The Element of Crime is like watching one of The Simpson's being pulped to death and put into a blender, an incoherent yellowy mess. It opens with some interesting surreal imagery depicting a horse being pulled out of some water. It left me hoping for a nightmarish Lynchian journey and whilst it was certainly odd, I found myself wanting to float to actual dream land rather than compelled to watch the one presented on screen.
I couldn't tell you what the film was about. The back of the DVD calls it a neo-noir about a cop tracking down a serial killer and that's about the gist I got as well. Some English bloke drives around in a beaten-up tin car and pointlessly encounters people. The dialogue is completely illogical and never makes sense, this means that you can't feel any sort of connection to the characters or care about what they're doing. The film is entirely interested in bizarre visuals and fancy camera movements.
There's no denying the strong sense of style. The cluttered mise-en-scene and strange lighting creates a stark atmosphere, however this simply isn't enough to sustain a 100 minute movie. I'm afraid to see what Epidemic and Europa now have to offer, I can only hope that they're an improvement on this boring mess.
What to think...?
Red_Identity16 February 2012
Von Trier has created some masterpieces, but also some beautiful and very flawed films. Still, as far as his style The Element of Crime is the first of his without the Dogme shaky-cam style. Let's get this out of the way. It reminds me a lot of Lynch's Eraserhead and Aronofsky's Pi in how technically brilliant, but also how surreal and how cold they are. But unlike those, this one really tested my patience at times. It has some brilliant sound design, and some really amazing lighting and cinematography. There's quite a few shots here that will linger in the mind, but as a whole the plot is quite messy and not very comprehendable. Some could say it fits as a Lynch film in a way, but I found this to be much more of a mixed bag than many of Lynch's works. Overall, as a journey through avant-garde territory with really surreal, stylized, and just unsettling and odd moments, it's recommended, but as a whole you may feel yourself checking the clock one too many times.
Nightmarish, beautiful, haunting
TGlimm3 March 2000
The plots follows the descent of a reactivated ex-cop, Fisher, into a killer's mind, using a method he has been taught by his old teacher, Osborne. The backdrop of the story is Europe in an unspecified future and after an unnamed catastrophe that let the continent fall in a perpetual darkness, an apocalyptic, anarchic gloominess. More and more, Fisher becomes like the killer as he gets increasingly fascinated with the strangely complex set-up of the murders...
Ultimately, this is a film about moral corruption and cultural decline of the western world. In the tradition of cultural pessimism from the beginning of the century, it paints a gruesome picture of a world devoid of decency and morale. "I want you to screw God into me.", these words spoken by Kim, a hooker Fisher picks up during his travels, are maybe the best expression of the ultimate loss of any metaphysical sense of belonging.
The style of the movie reflects this gloominess beautifully.
There are dark and gruesome nightmares you had that linger on in your mind and strangely, sometimes in your waking hours, you wish you'd get back to taste the sweet despair again... This movie is one of them.
Ultimately, this is a film about moral corruption and cultural decline of the western world. In the tradition of cultural pessimism from the beginning of the century, it paints a gruesome picture of a world devoid of decency and morale. "I want you to screw God into me.", these words spoken by Kim, a hooker Fisher picks up during his travels, are maybe the best expression of the ultimate loss of any metaphysical sense of belonging.
The style of the movie reflects this gloominess beautifully.
There are dark and gruesome nightmares you had that linger on in your mind and strangely, sometimes in your waking hours, you wish you'd get back to taste the sweet despair again... This movie is one of them.
"Water, water everywhere, but not a drop to drink
" (possible spoilers)
Nriks22 August 2002
Warning: Spoilers
Opening a trilogy of films dealing with the effect and decline of post-war Europe, this extraordinary, heavily referential psychological thriller marked the first cinematic outing from Danish maverick (and dogma godfather) Lars von Trier. Unfolding in an undisclosed European country, where day and night no longer exist, rain seems to be falling almost constantly, and the only colour we see is a thick yellow sepia that is only occasionally pierced by jarring shafts of neon light.
Building on ideas such as faith, redemption, love and mental anguish, familiar in symbolic rigour to the works of Ingmar Bergman, but with a fragmented composition and style aching to the framing of Andrei Tarkovsky or industrial surrealism of David Lynch, 'The Element of Crime' presents an alluring potion of haunting images, heart stopping bursts of violence, convoluted philosophies, unashamed pretension and a plot that writhes right the way through to its unflinching climax. From the opening images of a donkey basking in the hot sands of a Cairo desert, to the waterlogged depiction of Europe, filled with burnt-out cars, decaying animal carcasses and lost children, 'The Element of Crime' creates a world, so murky, so damaged and so lost within the abyss that it expressionistically conveys the sense of detachment and pain felt by the main character.
Fisher is a washed out former detective, who after living in Cairo for a number of years returned to his native Europe to help his mentor Osborn with a murder investigation. In the first scene -- which takes place two months after the events of the main story -- an unseen Fisher sits in a psychiatrist's office, the set comprising of one solitary wall and a desk, conversing with the doctor, who promises to help him find the root of his problems. Here von Trier is able to utilise the simplicity of the set, and one of his own favourite narrative devises, hypnosis -- as he blends together the character's psyche with the action in the film. From this point the entire film takes place from Fisher's point-of-view, his voice-over only rarely broken by the psychiatrist to keep his story on track.
In the lead role, Michael Elphick acquits himself admirably, this was back when he was an actor of some reputable standing, before the cockney 'comedy' antics of 'Boon' made him something of a joke (in Britain anyway). Here he is used more like a puppet than a traditional actor, manipulated by von Trier to fit with the framing and style of the film, though with his rugged appearance and monotonous delivery of lines, he does successfully ease himself into the role of the gumshoe perfectly, brining to mind some of the genre's best-loved anti-heroes. However, what is amazing about 'The Element of Crime' far beyond acting, is von Trier's way of breaking down the genre -- not content with producing a carbon copy of classic thrillers run through with art-house dramatics, he sets about subverting and destroying both design and ideology -- like a schoolboy scribbling graffiti in a textbook, the result is jarring, criminally audacious and completely astounding.
Here white linen suits replace hats and trench coats, reflections are used in both mirrors and clouded puddles to heighten the idea of fragmented personalities and schizophrenia, just as the use of sepia printing suggests the murkiness to Fisher's subconscious. The neon light that breaks the composition of the frame, usually from a police light or a flickering television set act as beacons to the hidden depths of Fisher's mind -- whenever some moment of remembrance occurs, a light will often be present to signify to the audience the usual emotion connected with the colour (blue - recollection, green - sickness, red - anger etc) -- just as the use of double exposures and heavy sound-design build the flashbacks, dreamscapes and memories within memories.
The other actors in the film are used like puppets to a greater extent. Whereas Fisher is here for our benefit, they are there for his. Osborn for example, who is played with ailing charm by the great British actor Esmonde Knight, gives the information that will lead both plot and dénouement, whilst the casting of Me-Me Lai as Kim again subverts the usual preconceptions of the femme-fatal by being a teasing, manipulative prostitute -- with dark Asian looks that undercut the usual 'wasp' stereotypes. Her character presents both complications and a love interest cum sidekick for Fisher, as well as other more meaningful purposes as the film moves towards the ambiguous climax -- suggesting a state of abandonment and complete mental breakdown, as the shocking twists begin to pile up.
Surpassing 'A Clockwork Orange' and '1984' in its subversive attack and artistic vision -- 'The Element of Crime' presents to us a definitively dark and unrelenting image of Europe, in which chaos has overthrown order, analytical approaches to police work have been replaced by Gestapo bully tactics and the chance of a changing season is nothing more than a pipe dream. This is a staggering and inventive mish-mash of ideas and stylistic references that, coming from one of modern cinema's brightest talents, should not be missed. Von Trier would evolve his style throughout the 'Europa-trilogy' before maturing with 'The Kingdom' and his most successful work 'Breaking the Waves' -- all further proof of his immense filmmaking abilities.
Building on ideas such as faith, redemption, love and mental anguish, familiar in symbolic rigour to the works of Ingmar Bergman, but with a fragmented composition and style aching to the framing of Andrei Tarkovsky or industrial surrealism of David Lynch, 'The Element of Crime' presents an alluring potion of haunting images, heart stopping bursts of violence, convoluted philosophies, unashamed pretension and a plot that writhes right the way through to its unflinching climax. From the opening images of a donkey basking in the hot sands of a Cairo desert, to the waterlogged depiction of Europe, filled with burnt-out cars, decaying animal carcasses and lost children, 'The Element of Crime' creates a world, so murky, so damaged and so lost within the abyss that it expressionistically conveys the sense of detachment and pain felt by the main character.
Fisher is a washed out former detective, who after living in Cairo for a number of years returned to his native Europe to help his mentor Osborn with a murder investigation. In the first scene -- which takes place two months after the events of the main story -- an unseen Fisher sits in a psychiatrist's office, the set comprising of one solitary wall and a desk, conversing with the doctor, who promises to help him find the root of his problems. Here von Trier is able to utilise the simplicity of the set, and one of his own favourite narrative devises, hypnosis -- as he blends together the character's psyche with the action in the film. From this point the entire film takes place from Fisher's point-of-view, his voice-over only rarely broken by the psychiatrist to keep his story on track.
In the lead role, Michael Elphick acquits himself admirably, this was back when he was an actor of some reputable standing, before the cockney 'comedy' antics of 'Boon' made him something of a joke (in Britain anyway). Here he is used more like a puppet than a traditional actor, manipulated by von Trier to fit with the framing and style of the film, though with his rugged appearance and monotonous delivery of lines, he does successfully ease himself into the role of the gumshoe perfectly, brining to mind some of the genre's best-loved anti-heroes. However, what is amazing about 'The Element of Crime' far beyond acting, is von Trier's way of breaking down the genre -- not content with producing a carbon copy of classic thrillers run through with art-house dramatics, he sets about subverting and destroying both design and ideology -- like a schoolboy scribbling graffiti in a textbook, the result is jarring, criminally audacious and completely astounding.
Here white linen suits replace hats and trench coats, reflections are used in both mirrors and clouded puddles to heighten the idea of fragmented personalities and schizophrenia, just as the use of sepia printing suggests the murkiness to Fisher's subconscious. The neon light that breaks the composition of the frame, usually from a police light or a flickering television set act as beacons to the hidden depths of Fisher's mind -- whenever some moment of remembrance occurs, a light will often be present to signify to the audience the usual emotion connected with the colour (blue - recollection, green - sickness, red - anger etc) -- just as the use of double exposures and heavy sound-design build the flashbacks, dreamscapes and memories within memories.
The other actors in the film are used like puppets to a greater extent. Whereas Fisher is here for our benefit, they are there for his. Osborn for example, who is played with ailing charm by the great British actor Esmonde Knight, gives the information that will lead both plot and dénouement, whilst the casting of Me-Me Lai as Kim again subverts the usual preconceptions of the femme-fatal by being a teasing, manipulative prostitute -- with dark Asian looks that undercut the usual 'wasp' stereotypes. Her character presents both complications and a love interest cum sidekick for Fisher, as well as other more meaningful purposes as the film moves towards the ambiguous climax -- suggesting a state of abandonment and complete mental breakdown, as the shocking twists begin to pile up.
Surpassing 'A Clockwork Orange' and '1984' in its subversive attack and artistic vision -- 'The Element of Crime' presents to us a definitively dark and unrelenting image of Europe, in which chaos has overthrown order, analytical approaches to police work have been replaced by Gestapo bully tactics and the chance of a changing season is nothing more than a pipe dream. This is a staggering and inventive mish-mash of ideas and stylistic references that, coming from one of modern cinema's brightest talents, should not be missed. Von Trier would evolve his style throughout the 'Europa-trilogy' before maturing with 'The Kingdom' and his most successful work 'Breaking the Waves' -- all further proof of his immense filmmaking abilities.
"Stalker" meets "Seven": a cure for insomnia!
gridoon1 April 2004
This is the kind of movie that sends 90% of the audience looking for the exits (or the "Eject" button on their VHS/DVD players), while the remaining 10% claims it's a "masterpiece". Very demanding, very suffocating, very pretentious. By making a film whose extreme ambitions are matched only by the boredom it induces, Von Trier proves to be a worthy successor to Tarkovsky (and that's not a compliment). Of course in Tarkovsky you would never get a line like "I'll sc*ew you to the Stone Age!". (*1/2)
Starts with a bang, ends with a whimper.
aklcraigc27 September 2013
Warning: Spoilers
One detects the influence of many directors on the young Von Trier, many have already been mentioned (Tarkovsky, Hitchcock, Bergman, etc), but Tarkovsky looms the largest. The opening scene is a direct quote of 'Andrei Rublev', from there on in we are treated to ever increasing levels of Tarkovsky-esq rain, dripping faucets, people standing in water, until it becomes almost comical.
The story is ostensibly your generic 'washed up cop pursuing a murder' mixed in with some hypnosis and color filters. The main character is apparently following a crime detection method outlined in a book (entitled 'Element of Crime', of course). This involves somehow 'becoming' the killer by recreating his steps, rather predictably, the line becomes blurred between cop and killer and then nothing seems to happen.
The movie starts with good energy and atmosphere, but then fails to capitalize on the setup, scenes just seem to serve the purpose of allowing Lars to insert yet more Tarkovsky/noir references until it all starts to feel a little pointless. The movie then ambiguously grinds to a halt with no obvious conclusion (at least not one which was clear to me). One can't fault Von Trier's imagination, scenes often startle with their originality and composition, but it just starts to feel played out by the middle of the movie, the story is simply not strong enough to support the visuals. As a first movie, it's pretty damn good, but it just doesn't quite come off. Zentropa is a much better movie.
The story is ostensibly your generic 'washed up cop pursuing a murder' mixed in with some hypnosis and color filters. The main character is apparently following a crime detection method outlined in a book (entitled 'Element of Crime', of course). This involves somehow 'becoming' the killer by recreating his steps, rather predictably, the line becomes blurred between cop and killer and then nothing seems to happen.
The movie starts with good energy and atmosphere, but then fails to capitalize on the setup, scenes just seem to serve the purpose of allowing Lars to insert yet more Tarkovsky/noir references until it all starts to feel a little pointless. The movie then ambiguously grinds to a halt with no obvious conclusion (at least not one which was clear to me). One can't fault Von Trier's imagination, scenes often startle with their originality and composition, but it just starts to feel played out by the middle of the movie, the story is simply not strong enough to support the visuals. As a first movie, it's pretty damn good, but it just doesn't quite come off. Zentropa is a much better movie.
pure genius
Buffy-1216 September 2001
The day after I saw this film for the first time, I had to sit down and watch it again. Not because I thought I'd missed something, but because the story and visuals are so compelling that it's the kind of film you're drawn to watch again and again.
Lars Von Trier has created a world of darkness - both literal and figurative. I can't recall a single scene in this film that takes place in broad daylight. The characters move through a surreal night-time world, where everything seems to be touched by corruption and decay. The places they inhabit - a leaky basement, a dirty hotel, the shell of a broken-down bus - all contribute to the overall sense of squalor and disease that overcomes the viewer.
The story essentially follows a man as he follows the trail of a serial killer. As the plot unfolds, there are hints of some kind of surreal (almost supernatural) cycle or pattern into which the detective has fallen. As the film builds to a climax, the viewer's feelings of uneasiness grow along with a sick kind of fascination when the realization of what is happening takes hold.
This film, with its mixture of dreamlike visuals and a nightmarish story, is one of the best foreign-language films I have ever had the privilege of seeing. I would highly recommend it to fans of David Lynch, Jeunet & Caro, Soderbergh's "Kafka," or as a good introduction to Von Trier.
Lars Von Trier has created a world of darkness - both literal and figurative. I can't recall a single scene in this film that takes place in broad daylight. The characters move through a surreal night-time world, where everything seems to be touched by corruption and decay. The places they inhabit - a leaky basement, a dirty hotel, the shell of a broken-down bus - all contribute to the overall sense of squalor and disease that overcomes the viewer.
The story essentially follows a man as he follows the trail of a serial killer. As the plot unfolds, there are hints of some kind of surreal (almost supernatural) cycle or pattern into which the detective has fallen. As the film builds to a climax, the viewer's feelings of uneasiness grow along with a sick kind of fascination when the realization of what is happening takes hold.
This film, with its mixture of dreamlike visuals and a nightmarish story, is one of the best foreign-language films I have ever had the privilege of seeing. I would highly recommend it to fans of David Lynch, Jeunet & Caro, Soderbergh's "Kafka," or as a good introduction to Von Trier.
What kind of world is this?
ispelunk5 January 2002
Though supposedly taking place somewhere in West Germany, I cannot imagine a world such as this, with the exceptions of perhaps a Mad Max movie, or maybe Waterworld. Water seems to be the dominant element in the film; the entire piece is saturated. In one early scene in police headquarters, our hero, Fisher, visits the archives by climbing a rope down to a flooded basement. He wades in waist high water, searching through damp and waterlogged files encased in plastic baggies. He searches for clues to the elusive Harry Gray. This world has definitely suffered some apocalypse, though details are sketchy.
Finding a long forgotten surveillance report, he tracks the movements of Mr. Gray through the muddy streets and towns. He tries to put himself into the shoes of his prey, perhaps too much so. Who is Harry Gray, anyway? Is there such a person? Will the hunter cross the line and identify too closely with the hunted?
Lars von Trier's directorial debut definitely foreshadows some of his later works. All of the lotto girls bear a striking resemblance to "The Kingdom's" poor Mary Jensen. And much of the camera work is reminiscent of "The Kingdom" and "Europa". Although the film is somewhat slow, especially if you've been bred on a diet of standard American cinema, it's dreamy, somber tone is nothing if not original. Shot entirely in shades of sepia, with startling blasts of blue color that remind you that this is not a black and white film of the Fritz Lang era, you wonder if the entire movie is but a dream, conjured in our protaganist's mind and surfaced under hypnosis. Why is he in Cairo being hypnotized, anyway? Was he the killer all along, murdering the lotto girls and mutilating them with broken bottles? Does he really not remember? And am I the only one who sees the similarity between Harry Gray and "The Usual Suspects'" Kaiser Soze. The classic red herring that leads you... where?
More than likely, you will only see this film if you purchase the Criterion Collection Edition (at least in the USA), or borrow it from someone who has. So, is it worth the fourty bucks to add to your collection? If you are a Michael Bay, Arnold Schwarzeneggar, shoot-em-up action guy, then probably not. But if you enjoy something completely different, then this may well be for you. By the way, the Criterion release includes a documentary about the life and work of von Trier, including some of his first adolescent films shot with his mom's 8mm camera. If you are a fan of "The Kingdom", as I am, or of any of von Trier's works, it may well be worth the asking price for this alone; and you can consider the feature a quirky bonus, showing his singular genius at such an early stage.
Finding a long forgotten surveillance report, he tracks the movements of Mr. Gray through the muddy streets and towns. He tries to put himself into the shoes of his prey, perhaps too much so. Who is Harry Gray, anyway? Is there such a person? Will the hunter cross the line and identify too closely with the hunted?
Lars von Trier's directorial debut definitely foreshadows some of his later works. All of the lotto girls bear a striking resemblance to "The Kingdom's" poor Mary Jensen. And much of the camera work is reminiscent of "The Kingdom" and "Europa". Although the film is somewhat slow, especially if you've been bred on a diet of standard American cinema, it's dreamy, somber tone is nothing if not original. Shot entirely in shades of sepia, with startling blasts of blue color that remind you that this is not a black and white film of the Fritz Lang era, you wonder if the entire movie is but a dream, conjured in our protaganist's mind and surfaced under hypnosis. Why is he in Cairo being hypnotized, anyway? Was he the killer all along, murdering the lotto girls and mutilating them with broken bottles? Does he really not remember? And am I the only one who sees the similarity between Harry Gray and "The Usual Suspects'" Kaiser Soze. The classic red herring that leads you... where?
More than likely, you will only see this film if you purchase the Criterion Collection Edition (at least in the USA), or borrow it from someone who has. So, is it worth the fourty bucks to add to your collection? If you are a Michael Bay, Arnold Schwarzeneggar, shoot-em-up action guy, then probably not. But if you enjoy something completely different, then this may well be for you. By the way, the Criterion release includes a documentary about the life and work of von Trier, including some of his first adolescent films shot with his mom's 8mm camera. If you are a fan of "The Kingdom", as I am, or of any of von Trier's works, it may well be worth the asking price for this alone; and you can consider the feature a quirky bonus, showing his singular genius at such an early stage.
Impressive Debut From Von Trier
gavin694224 July 2011
A cop (Michael Elphick) in a dystopian Europe investigates a serial killings suspect using controversial methods written by his now disgraced former mentor (Esmond Knight).
The first film in Lars von Trier's 'Europa' trilogy which illuminates the traumas of Europe in the future. The two other parts are "Epidemic" and "Europa". What a great way to start... the sepia tinting and blue light. Wow! This was my first Lars von Trier experience and will certainly not be my last. I was so impressed that I now think von Trier might be the new, under-appreciated Roman Polanski. And, while both are controversial, at least von Trier is not wanted for a felony.
The first film in Lars von Trier's 'Europa' trilogy which illuminates the traumas of Europe in the future. The two other parts are "Epidemic" and "Europa". What a great way to start... the sepia tinting and blue light. Wow! This was my first Lars von Trier experience and will certainly not be my last. I was so impressed that I now think von Trier might be the new, under-appreciated Roman Polanski. And, while both are controversial, at least von Trier is not wanted for a felony.
A Potpourri of Vestiges Review: Part I Danish filmmaker of Lars von Trier's Europe Trilogy
murtaza_mma30 May 2013
The Element of Crime, also known as Forbrydelsens element, is a 1984 crime film directed by Danish filmmaker Lars von Trier that also marked his international debut. The Element of Crime is the first installment in von Trier's highly acclaimed Europe Trilogy—the other two being Epidemic (1987) and Europa (1991). Renowned for his exceedingly unconventional and visually stimulating style that often reminds one of Andrei Tarkovsky, Lars von Trier is unarguably the most influential filmmaker to have emerged out of Denmark since Dreyer.
The Element of Crime presents the story of a European police detective whose morbid obsession for the criminal investigatory methods of his mentor makes him question the veracity of his own existence as he slowly gets engulfed in a miasma of delirium and paranoia. The Element of Crime is cryptic, bizarre, hypnotic, ambiguous, contradicting and at times absurd, and perhaps that's what makes it so brilliant, unique and engaging at all levels. The movie's experimental camera-work is highly reminiscent of Welles' Citizen Kane (1941). Von Trier films the movie in an orange monochrome, occasionally punctuated by shafts of green and blue—a facet that inexplicably reminds of Tarkovsky's use of the sepia tone in Stalker (1979). In fact, it would be safe to concede that von Trier's mise en scene seems to be a well thought-out variation of the Russian master's mise en scene in Stalker.
The Element of Crime despite being rife with analogies, symbolism and allegories serves to be a consummate cinematic experience for the intelligent viewer. The Element of Crime is a psychological thriller, part character-study, part police procedural with surrealistic overtones that's intellectually and technically superior to most movies of its kind. The Element of Crime catapults the viewer in a Kafkaesque world of breathtaking visuals, bizarre juxtapositions and endless absurdities. The Element of Crime is a difficult movie to watch and is surely not meant for those who are looking for a popcorn flick to spend a cozy evening in a dormant state of mind. It's a movie that the less keen viewer may like to skip, but it definitely serves to be a rewarding experience for those who understand and value thought-provoking cinema.
A more detailed review of the movie can be read at:
http://www.apotpourriofvestiges.com/
The Element of Crime presents the story of a European police detective whose morbid obsession for the criminal investigatory methods of his mentor makes him question the veracity of his own existence as he slowly gets engulfed in a miasma of delirium and paranoia. The Element of Crime is cryptic, bizarre, hypnotic, ambiguous, contradicting and at times absurd, and perhaps that's what makes it so brilliant, unique and engaging at all levels. The movie's experimental camera-work is highly reminiscent of Welles' Citizen Kane (1941). Von Trier films the movie in an orange monochrome, occasionally punctuated by shafts of green and blue—a facet that inexplicably reminds of Tarkovsky's use of the sepia tone in Stalker (1979). In fact, it would be safe to concede that von Trier's mise en scene seems to be a well thought-out variation of the Russian master's mise en scene in Stalker.
The Element of Crime despite being rife with analogies, symbolism and allegories serves to be a consummate cinematic experience for the intelligent viewer. The Element of Crime is a psychological thriller, part character-study, part police procedural with surrealistic overtones that's intellectually and technically superior to most movies of its kind. The Element of Crime catapults the viewer in a Kafkaesque world of breathtaking visuals, bizarre juxtapositions and endless absurdities. The Element of Crime is a difficult movie to watch and is surely not meant for those who are looking for a popcorn flick to spend a cozy evening in a dormant state of mind. It's a movie that the less keen viewer may like to skip, but it definitely serves to be a rewarding experience for those who understand and value thought-provoking cinema.
A more detailed review of the movie can be read at:
http://www.apotpourriofvestiges.com/
Poor Lars von Trier
zetes28 October 2000
Poor Lars von Trier. Why do people hate you so? Perhaps it is because you have come into existence so late in the chronology of film history. I personally do not believe that the filmic art has died or even weakened. It is as strong as ever right now. Every decade has its masterpieces. The only difference between them is that in a few decades the great films all contain similar themes via the tempora and mores. People will tell you that the worst dry spell for film was the 1980s, and a lot of people in the near future will carry this over into the 1990s. It is total bunk, untrue. There was just no dominant theme.
The actual reason, though, why people refuse to notice the masterpieces of the last two decades is not because there either were none or that there was no dominant theme. It is because the definitions of greatness have changed amongst the critics. They have grown bitter, and refuse to pay attention, ready at the drop of a hat to come up with a really creative phrase in their criticism or to use one of their favorite words, "overwrought," "pretentious," "self-indulgent."
I think the word "overwrought" perfectly describes Citizen Kane, though I will be the first to call it one of the greatest films ever made. Orson Welles is almost hubristic in the techniques he uses to make the film. All the words listed above could probably be used to describe that film. These words all have a common synonym not found in Roget's: "original."
Critics today are so cynical, they refuse to admit anything original into their intellects. Here fits all the works of Lars von Trier. Previous to The Element of Crime, I had seen his three latest films, all Dogmaesque (Dogma 95, of course, authored by Trier; only one of his films, The Idiots, was actually made under the banner of Dogma 95. Breaking the Waves was its immediate precursor and Dancer in the Dark, made right after The Idiots, is the immediate next step in the director's evolution). These films were made with a certain "vow of chastity" that gave them an emotional immediacy like no other films I've ever seen. Breaking the Waves is Trier's only enormous hit in the USA. Even though there are many people who do see an enormously sexist view behind it, most people were deeply affected by it. I am included here, as it was the first film of his that I saw. I cried my eyes out for about the final hour of that film. Many people find Dancer in the Dark similar in power, but there is a much louder criticism and hatred for this film. It seems less complex than Breaking the Waves, and the sexism which was accused in Breaking can be seen much more clearly here, or at least that is what the critics claim. Me, again, I found it utterly powerful. And then there is the Idiots, which must be the most misunderstood film made. It is almost universally hated. Barely released in the US, it is apparently not going to be released on DVD (those creeps). Me? Well, I love it and feel sorry for its director, who just happens to be the genius whom he claims to be so often.
Now I finally get to journey back to his pre-Dogmaesque films with Element of Crime. I've already wasted most of my space on a rather useless diatribe, but I'd just like to say, as part of the genre of the apocalyptic future, it is better than Brazil, Blade Runner, and even A Clockwork Orange. It is the complete opposite of the Dogmaesque films. Whereas they are an exploration of emotion, this film, and I assume the other pre-Dogmaesque films, is an exploration of the intellect. It relies on its sly style more than on its content, where the Dogmaesque films are the opposite. There is hardly a better film in terms of artistry of composition. Only Sejun Sezuki's Branded to Kill matches it in pure audacity. I say, if you are wondering whether you should buy this film (on DVD, Criterion) just to see it, YES. DO IT. It is well worth your money. 10/10
The actual reason, though, why people refuse to notice the masterpieces of the last two decades is not because there either were none or that there was no dominant theme. It is because the definitions of greatness have changed amongst the critics. They have grown bitter, and refuse to pay attention, ready at the drop of a hat to come up with a really creative phrase in their criticism or to use one of their favorite words, "overwrought," "pretentious," "self-indulgent."
I think the word "overwrought" perfectly describes Citizen Kane, though I will be the first to call it one of the greatest films ever made. Orson Welles is almost hubristic in the techniques he uses to make the film. All the words listed above could probably be used to describe that film. These words all have a common synonym not found in Roget's: "original."
Critics today are so cynical, they refuse to admit anything original into their intellects. Here fits all the works of Lars von Trier. Previous to The Element of Crime, I had seen his three latest films, all Dogmaesque (Dogma 95, of course, authored by Trier; only one of his films, The Idiots, was actually made under the banner of Dogma 95. Breaking the Waves was its immediate precursor and Dancer in the Dark, made right after The Idiots, is the immediate next step in the director's evolution). These films were made with a certain "vow of chastity" that gave them an emotional immediacy like no other films I've ever seen. Breaking the Waves is Trier's only enormous hit in the USA. Even though there are many people who do see an enormously sexist view behind it, most people were deeply affected by it. I am included here, as it was the first film of his that I saw. I cried my eyes out for about the final hour of that film. Many people find Dancer in the Dark similar in power, but there is a much louder criticism and hatred for this film. It seems less complex than Breaking the Waves, and the sexism which was accused in Breaking can be seen much more clearly here, or at least that is what the critics claim. Me, again, I found it utterly powerful. And then there is the Idiots, which must be the most misunderstood film made. It is almost universally hated. Barely released in the US, it is apparently not going to be released on DVD (those creeps). Me? Well, I love it and feel sorry for its director, who just happens to be the genius whom he claims to be so often.
Now I finally get to journey back to his pre-Dogmaesque films with Element of Crime. I've already wasted most of my space on a rather useless diatribe, but I'd just like to say, as part of the genre of the apocalyptic future, it is better than Brazil, Blade Runner, and even A Clockwork Orange. It is the complete opposite of the Dogmaesque films. Whereas they are an exploration of emotion, this film, and I assume the other pre-Dogmaesque films, is an exploration of the intellect. It relies on its sly style more than on its content, where the Dogmaesque films are the opposite. There is hardly a better film in terms of artistry of composition. Only Sejun Sezuki's Branded to Kill matches it in pure audacity. I say, if you are wondering whether you should buy this film (on DVD, Criterion) just to see it, YES. DO IT. It is well worth your money. 10/10
An existentialist detective story, or a waking dream?
ThreeSadTigers29 December 2007
Warning: Spoilers
Beginning a trilogy of films dealing specifically with the decline of post-war Europe, this extraordinary, heavily referential, psychological thriller would be the first cinematic outing from acclaimed Danish filmmaker Lars von Trier. Like all of the director's early works, the story is convoluted, and works best as an example of cinematic dream-logic, unfolding in an undisclosed European state, where day and night no longer exist, rain seems to be falling almost constantly and the only colour we see is a thick yellow sepia that is only occasionally pierced by jarring shafts of neon light. The story then builds on ideas of faith, redemption, love and mental anguish, familiar in symbolic rigour to the works of Ingmar Bergman - but with a fragmented composition and style more akin to the framing of Andrei Tarkovsky, or the industrial surrealism of David Lynch.
From the opening images of a donkey basking in the hot sands of a Cairo desert (a metaphor for the central character and a reference in it's self to the Tarkovsky classic Andrei Rublev), to the waterlogged depiction of Europe, filled with burnt-out cars, decaying animal carcasses & lost children, The Element of Crime creates a world so murky, so damaged and so lost within the abyss, that it expressionistically conveys the sense of detachment and pain felt by the central protagonist, Fisher. Fisher is a washed up former detective, who after living in Cairo for a number of years, returns to his native Europe to help his mentor Osborn with a murder investigation. In the first scene - which takes place two months after the events of the main story - an unseen Fisher sits in a psychiatrist's office conversing with the doctor who promises to help him find the root to his problems. Here, von Trier is able to utilise one of his favourite narrative devises, hypnosis... as he blends together the character's psyche with the action in the film. From this point on, the entire film takes place from Fisher's point-of-view, his voice-over only rarely broken by the psychiatrist, who pops up to keep the story on track.
In the lead role, the great Michael Elphick acquits himself admirably, though his role in the film (like all of the actors) is little more than a marionette to von Trier's demented puppet master (although, to be fair, with his rugged appearance and monotonous delivery of lines, he does successfully ease himself into the role of the gumshoe perfectly, brining to mind some of the genre's best-loved anti-heroes... for example, Philip Marlow from the Singing Detective fantasy sequences or Lemmy Caution from Godard's similarly dystopic masterpiece Alphaville). However, what is amazing about The Element of Crime far beyond acting, is von Trier's way of breaking down the genre - not content with producing a carbon copy of classic thrillers run through with art-house dramatics, he sets about subverting and destroying both design and ideology - like a schoolboy scribbling graffiti in a textbook, the result is jarring, criminally audacious and completely astounding. Here, white linen suits replace hats and trench coats, reflections are used in both mirrors and clouded puddles to heighten the idea of fragmented personalities and schizophrenia, just as the use of sepia printing suggests the murkiness to Fisher's subconscious. The neon lights that breaks the composition of the frame, usually from a police light or a flickering television set, act as beacons to the hidden depths of Fisher's mind - whenever some moment of remembrance occurs, a light will often be present to signify to the audience the usual emotion connected with the colour (blue - recollection, green - sickness, red - anger etc) - just as the use of double exposures and heavy sound-design build the flash-backs, dreamscapes and memories within memories.
The other actors in the film are used like puppets to an even greater extent. Whereas Fisher is here for our benefit, they are there for his. Osborn for example, who is played with ailing charm by the great British actor Esmonde Knight (fans of Michael Powell will be familiar), gives the information that will lead both plot and dénouement, whilst the casting of Me-Me Lia as Kim again subverts the usual preconceptions of the femme-fatale by being a teasing, manipulative prostitute - with dark Asian looks that undercut the genre's usual 'wasp-ish' stereotypes. Her character presents both complications and a love interest/sidekick for Fisher, as well as other more meaningful purposes as the film moves towards the ambiguous climax - suggesting a state of abandonment and complete mental breakdown, as the shocking twists begin to pile up. Surpassing both A Clockwork Orange and 1984 in it's subversive attack and artistic vision, The Element of Crime presents to us a definitively dark and unrelenting image of Europe, in which chaos has overthrown order, analytical approaches to police work have been replaced by Gestapo bully tactics, and the chance of a changing season is nothing but a mere pipe dream.
This is a staggering and inventive mish-mash of ideas and stylistic references that present us with an alluring potion of haunting images, heart-stopping bursts of violence, elaborate philosophies, unashamed pretension and a plot that writhes right the way through to its unflinching climax... which, coming from one of contemporary cinema's most important auteurs, should not be missed. Those familiar with his later works, such as Breaking the Waves, The Idiots and Dogville, may be surprised by von Trier's bold grasp of staggering cinematic technique and intelligent understanding of the conventions of post-war film-noir... something even more apparent in his later masterpiece, Europa.
From the opening images of a donkey basking in the hot sands of a Cairo desert (a metaphor for the central character and a reference in it's self to the Tarkovsky classic Andrei Rublev), to the waterlogged depiction of Europe, filled with burnt-out cars, decaying animal carcasses & lost children, The Element of Crime creates a world so murky, so damaged and so lost within the abyss, that it expressionistically conveys the sense of detachment and pain felt by the central protagonist, Fisher. Fisher is a washed up former detective, who after living in Cairo for a number of years, returns to his native Europe to help his mentor Osborn with a murder investigation. In the first scene - which takes place two months after the events of the main story - an unseen Fisher sits in a psychiatrist's office conversing with the doctor who promises to help him find the root to his problems. Here, von Trier is able to utilise one of his favourite narrative devises, hypnosis... as he blends together the character's psyche with the action in the film. From this point on, the entire film takes place from Fisher's point-of-view, his voice-over only rarely broken by the psychiatrist, who pops up to keep the story on track.
In the lead role, the great Michael Elphick acquits himself admirably, though his role in the film (like all of the actors) is little more than a marionette to von Trier's demented puppet master (although, to be fair, with his rugged appearance and monotonous delivery of lines, he does successfully ease himself into the role of the gumshoe perfectly, brining to mind some of the genre's best-loved anti-heroes... for example, Philip Marlow from the Singing Detective fantasy sequences or Lemmy Caution from Godard's similarly dystopic masterpiece Alphaville). However, what is amazing about The Element of Crime far beyond acting, is von Trier's way of breaking down the genre - not content with producing a carbon copy of classic thrillers run through with art-house dramatics, he sets about subverting and destroying both design and ideology - like a schoolboy scribbling graffiti in a textbook, the result is jarring, criminally audacious and completely astounding. Here, white linen suits replace hats and trench coats, reflections are used in both mirrors and clouded puddles to heighten the idea of fragmented personalities and schizophrenia, just as the use of sepia printing suggests the murkiness to Fisher's subconscious. The neon lights that breaks the composition of the frame, usually from a police light or a flickering television set, act as beacons to the hidden depths of Fisher's mind - whenever some moment of remembrance occurs, a light will often be present to signify to the audience the usual emotion connected with the colour (blue - recollection, green - sickness, red - anger etc) - just as the use of double exposures and heavy sound-design build the flash-backs, dreamscapes and memories within memories.
The other actors in the film are used like puppets to an even greater extent. Whereas Fisher is here for our benefit, they are there for his. Osborn for example, who is played with ailing charm by the great British actor Esmonde Knight (fans of Michael Powell will be familiar), gives the information that will lead both plot and dénouement, whilst the casting of Me-Me Lia as Kim again subverts the usual preconceptions of the femme-fatale by being a teasing, manipulative prostitute - with dark Asian looks that undercut the genre's usual 'wasp-ish' stereotypes. Her character presents both complications and a love interest/sidekick for Fisher, as well as other more meaningful purposes as the film moves towards the ambiguous climax - suggesting a state of abandonment and complete mental breakdown, as the shocking twists begin to pile up. Surpassing both A Clockwork Orange and 1984 in it's subversive attack and artistic vision, The Element of Crime presents to us a definitively dark and unrelenting image of Europe, in which chaos has overthrown order, analytical approaches to police work have been replaced by Gestapo bully tactics, and the chance of a changing season is nothing but a mere pipe dream.
This is a staggering and inventive mish-mash of ideas and stylistic references that present us with an alluring potion of haunting images, heart-stopping bursts of violence, elaborate philosophies, unashamed pretension and a plot that writhes right the way through to its unflinching climax... which, coming from one of contemporary cinema's most important auteurs, should not be missed. Those familiar with his later works, such as Breaking the Waves, The Idiots and Dogville, may be surprised by von Trier's bold grasp of staggering cinematic technique and intelligent understanding of the conventions of post-war film-noir... something even more apparent in his later masterpiece, Europa.
Will have you seeing red
gridoon20249 March 2020
Hyper-stylized visuals, a peculiar color palette (with an emphasis on red and yellow), and suffocating sets trump a serial killer story that is seriously lacking in drive and suspense. After a good start with the hypnosis sequence, the film literally loses the plot, and with it any point of contact with the viewer, becoming dreary and murky. ** out of 4.
The element of a bad movie
haggar12 January 2003
The good: a good idea. The bad: less substance than "Pi", less clarity than "Eraserhead", more lurid than any vampire movie could ever be. The ugly: it's nausea-inducing and sleep-inducing at the same time.
The acting is void, meaningless and I believe it was not because of a lack of talent on the part of the actors, but a deliberate decision of the director. And it backfired miserably.
The acting is void, meaningless and I believe it was not because of a lack of talent on the part of the actors, but a deliberate decision of the director. And it backfired miserably.
A detective hunts a killer in the method of his mentor in a post-apocalyptic Europe.
treywillwest8 December 2011
Von Trier's first film ranks with anything he's ever done visually, but otherwise it feels very much like a first movie, even a student film by a student of obvious genius. While Von Trier's visual influences are more obvious here than usual- namely, Tarkovsky, he borrows the style and perhaps transcends it. The use of water here is perhaps more dazzling than anything Tarkovsky achieved. Their are surfaces that seem impossible and dream-like, above and below the abyss at once. It is very dream-like, and that is a problem. The plot is a rather over-baked Kafka-ized noir cliché. As in "Europa," its all about how all is already written, but not in the religious, apocalyptic sense of his later work. Here, the apocalypse has already happened. All presence is absence. Which, I think, makes Von Trier a filmmaker alert to his cultural moment. Everything was inevitablest, post-modern irony until shortly before 911, and then the possibility of radical rupture re-introduced itself into the world, and into Von Trier's art. Change, be it glorious or disastrous, messianic or satanic, was and is again on the menu.
Everything fits.
kipbauer20 July 2004
This film does its job well. If you don't follow the reason for everything you see, don't worry about it. In the beginning, the story is set up so that we're (possibly) seeing the film as if we're under hypnosis with the main character. From this subjective spot, anything you see can make sense, because it doesn't have to represent the reality you walk through on your way to work. So if that doesn't sound like a bad film to you, then find this and rent it.
I saw this after watching The Five Obstructions in the theater a few weeks ago and enjoying that. Maybe you'll like it too. They're very different films. But who wants to see very similar films over and over? Oh, right, just about everyone, that's right... actually, me too.
I saw this after watching The Five Obstructions in the theater a few weeks ago and enjoying that. Maybe you'll like it too. They're very different films. But who wants to see very similar films over and over? Oh, right, just about everyone, that's right... actually, me too.
RECIPE FOR A BLACK Russian..
nikhil71795 April 2007
.. Or how to make a Tarkovskian Noir.
Using all the staples of the master - the sepia overlay, the fluid tracking shots, the long takes, etc. Von Trier inverts the spiritual leanings of the former to serve his own nihilistic ends.
Lars is a troublemaker and an obscenely gifted filmmaker - a lethal combination, and the result is a deeply unsettling and equally engaging piece of work, which more than hints at the greatness to follow.
Tom Elling's dexterous and inventive cinematography is par excellence - a milestone in terms of technical and aesthetic brilliance.
One of the more interesting debut films ever made, Von Trier channels The Third Man, Borges and even Hitchcock as he playfully sets up his cinematic game of cat and mouse.
Of course, plot/meaning as Fisher himself finds out, is secondary to mood.
Using all the staples of the master - the sepia overlay, the fluid tracking shots, the long takes, etc. Von Trier inverts the spiritual leanings of the former to serve his own nihilistic ends.
Lars is a troublemaker and an obscenely gifted filmmaker - a lethal combination, and the result is a deeply unsettling and equally engaging piece of work, which more than hints at the greatness to follow.
Tom Elling's dexterous and inventive cinematography is par excellence - a milestone in terms of technical and aesthetic brilliance.
One of the more interesting debut films ever made, Von Trier channels The Third Man, Borges and even Hitchcock as he playfully sets up his cinematic game of cat and mouse.
Of course, plot/meaning as Fisher himself finds out, is secondary to mood.
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