6.5 | / 10 |
Users | 0.0 | |
Reviewer | 4.0 | |
Overall | 4.0 |
Fisher, an exiled former policeman in a dystopian Europe, investigates a serial-murder suspect using controversial methods conceived by his disgraced former mentor.
Starring: Michael Elphick, Esmond Knight, Me Me Lai, Jerold Wells, Lars von TrierDrama | 100% |
Surreal | 17% |
Mystery | 8% |
Crime | Insignificant |
Thriller | Insignificant |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 1.90:1
Original aspect ratio: 1.85:1
English: LPCM Mono (48kHz, 24-bit)
English SDH
Blu-ray Disc
Single disc (1 BD)
Region A (locked)
Movie | 4.0 | |
Video | 4.0 | |
Audio | 4.0 | |
Extras | 5.0 | |
Overall | 4.0 |
Note: This film is available on Blu-ray as part of Lars von Trier's Europe Trilogy from The Criterion Collection.
If one is to believe the frequently questionable information offered by Wikipedia, there are well over one hundred films that have something
to do with hypnosis, including probably unsurprising entries ranging from Svengali
to The Three Faces of Eve to The Manchurian Candidate, but also
(somewhat hilariously, at least to me) perhaps slightly less expected offerings like Scooby-Doo and the Ghoul School. Kind of interestingly in that regard and vis a vis the rather broad gamut
of
films that feature some kind of depiction of the technique, hypnosis can be portrayed as either the tool of
someone nefarious (Dr. Mabuse: The Gambler
)
or alternatively as a long sought after cure for some kind of mental dysfunction (Spellbound). Wikipedia's list of films about
hypnosis kind of strangely only includes the first of Lars von Trier's so-called Europe Trilogy, namely The Element of Crime,
but hypnosis is at least alluded to in all three films, and all three arguably offer a "middle ground" in terms of depicting hypnotism as both a cure
and a potential threat. If hypnotism itself might be thought of as getting subjects into a kind of "limbo" state somewhere between
wakefulness
and sleeping, von Trier's trilogy is also a dreamscape (or nightmare-scape, as the case may be) where reality and illusion are often seemingly
interchangeable.
Criterion's insert booklet lumps the three films together in its relatively minimal descriptions of the restorations, as follows:
The Element of Crime is presented in its original aspect ratio of 1.89:1 [note: our aspect ratio measuring tool is actually showing 1.90:1, a probably imperceptible difference]. This digital transfer was created in 3K resolution on an Arriscan film scanner from the 16 mm original camera negative. Epidemic is presented in its original aspect ratio of 1.66:1. This digital transfer was created on an Arriscan film scanner and restored in 3K resolution from the 16 mm original camera negative. Europa is presented in its original aspect ratio of 2.39:1. This digital transfer was created on an Arriscan film scanner and restored in 4K resolution from the 35 mm original camera negative. The restorations of all three films were undertaken by Zentropa and approved by director Lars von Trier.As can be easily seen in the screenshots accompanying this review, and as mentioned above, large swaths of The Element of Crime are awash in yellows, with "awash" being a salient term also because so much water imagery is utilized. The ubiquitous yellow grading combined with the smaller format source as well as the film's deliberately hazy, dreamlike ambience can all lead to less than fulsome fine detail levels in midrange and wide shots in particular, but as can be seen in some of the screenshots of close-ups I've uploaded to the review, those moments have rather nice detail levels, even if a certain inherent softness can still pervade the imagery. Large portions of the film play out in relative darkness, with rather deep blacks despite the yellowing, to the point that shadow detail can be minimal at times.
The Element of Crime boasts an effective if narrow LPCM Mono track in English. The sound design is as layered as the visual sensibility, but commendably things are prioritized well, and even scenes with overlapping dialogue, ambient environmental effects and an elegiac string score offer no real hurdles to listenability or clear reproduction. Dialogue is rendered without any problems. Optional English subtitles are available.
This is an astounding first feature, even if it has some "unruly" aspects that may make it seem like something it is: an audacious debut by a gifted student recently out of film school. The imagery is baroque and seemingly designed to bypass the rational mind to appeal directly to the Id, and as such it may overwhelm a story that is undeniably opaque to begin with. Technical merits are generally solid and the bonus content outstanding. Recommended.
(Still not reliable for this title)
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