The Element of Crime

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.

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."

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.

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.

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.