Forbrydelsens element

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.

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 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.

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.

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.