Spuren eines Verbrechens

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."

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.

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.

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.

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