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19 out of 23 people found the following review useful: pure genius, 16 September 2001 Author: Venda Ballard from South Carolina, USA
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.
19 out of 24 people found the following review useful: More Subjective reality, 14 February 2002 Author: AdFin from UK
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
13 out of 14 people found the following review useful: Groundbreaking use of cinematic styles and expressions, 23 September 2006 Author: Camera Obscura from Leiden, The Dutch Mountains
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
17 out of 22 people found the following review useful: Lars von Trier's dazzling dystopia. As if Peter Greenaway directed 'Blade Runner' with a script by David Lynch., 28 January 2003 Author: Infofreak from Perth, Australia
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.
13 out of 17 people found the following review useful: Schmuck of Ages, 26 April 2003 Author: David H. Schleicher from New Jersey, USA
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."
8 out of 8 people found the following review useful: "The Silence of the Lambs" meets "Delicatessen", 3 May 2008 Author: Aluísio Parondi (nem.freud.explica@gmail.com) from Winooski, Vermont, USA
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.
8 out of 10 people found the following review useful: Nightmarish, beautiful, haunting, 3 March 2000 Author: TGlimm from Germany
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.
5 out of 6 people found the following review useful: What kind of world is this?, 5 January 2002 Author: Ryan from Grand Rapids, Michigan
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.
6 out of 8 people found the following review useful: "Water, water everywhere, but not a drop to drink…" (possible spoilers), 22 August 2002 Author: Lord Arthur Nameless from UK
*** This review may contain 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.
4 out of 5 people found the following review useful: Everything fits., 20 July 2004 Author: (kipbauer@mac.com)
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.
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