“It has been said that the logic of this story is the logic of a dream—of a nightmare.”–Orson Welles’ prologue to The Trial
DIRECTED BY: Orson Welles
FEATURING: Anthony Perkins, Orson Welles, Jeanne Moreau, Romy Schneider, Elsa Martinelli, Akim Tamiroff, William Chappell
PLOT: Josef K. awakes one day to find two investigators in his apartment, who inform him he is under arrest and will have to stand trial. When he asks what the charges are, the police tell him it’s not their place to talk about that. The authorities release Josef on his own recognizance, and he spends the rest of the movie navigating a legal labyrinth, trying to find a way to absolve himself of a charge no one will specify.
- Franz Kafka wrote “The Trial” in 1914 or 1915; it was never completed and was only published after his death.
- Feeling that studio interference had ruined Touch of Evil (1958), by the 1960s Orson Welles had sworn off directing for Hollywood studios for good (he continued to accept acting jobs). From 1958-1962 he worked on a never-completed adaptation of “Don Quixote,” then was approached by French backers about making a film in Europe; he would be given complete creative control. He was given a list of public domain titles to adapt and chose “The Trial.” (Unfortunately for the financiers, their research was faulty; it turned out that Kafka’s book was still under copyright at that time, and they were forced to negotiate licensing fees).
- The movie was filmed in Yugoslavia, Italy and France. Welles shot the courtroom scenes and many of the interiors at the abandoned Gare d’Orsay train station in Paris.
- Welles dubbed dialogue for eleven of the actors, and reportedly even overdubbed some of Perkins’ lines.
- In interviews with Peter Bogdanovich for his biography This Is Orson Welles, the director said that he suffered from recurring nightmares of being put on trial without knowing why and stated that this film was “the most autobiographical movie that I’ve ever made, the only one that’s really close to me… It’s much closer to my own feelings about everything than any other picture I’ve ever made.” The director of Citizen Kane also said that The Trial was “the best film I ever made.”
- The production company never registered a copyright on The Trial in the United States and for many years it was in the public domain, until the copyright was restored under the GATT treaty.
- The negative of the movie was thought to be lost, but a copy was discovered and restored in 2000.
INDELIBLE IMAGE: Welles begins the movie by narrating Kafka’s mysterious parable “Before the Law,” about a man who withers and dies while waiting his entire life to pass through a doorway blocked by a guard. The fable is illustrated by elegantly grotesque slides created through “pinscreen” animation (the images are created by shadows cast by thousands of individual pins) by Alexandre Alexeïeff. Near the end of the movie Welles, now in character as the advocate Hastler, retells the fable, this time projecting the slides directly onto the face of Josef K. (Anthony Perkins) as he stands before a screen. Welles’ hulking shadow, invisible to K as he faces Hastler, lurks over Perkins’ shoulder like the impassable guard of the tale—or like an angel of death.
WHAT MAKES IT WEIRD: Written at the dawn of the twentieth century, before the horrors of World War I, Franz Kafka’s “The Trial” is a masterpiece of nightmare literature and a harbinger of the angst that would come to define modernism. Orson Welles, the great grayscale poet, proves the perfect adapter of Kafka, imprisoning the beleaguered Josef K. in bars of light and shadow. Kafka’s story was a picaresque journey through abstract interactions with a sequence of bureaucrats and seductresses that, frustratingly, never brings him any closer to answering the central riddle of his indictment. Rather than elucidating Kafka’s text, Welles’ narrative decisions further muddy it, stringing poor Josef K along with a promise of an answer that never comes. I imagine Kafka applauding in his grave.
Original U.S. trailer for The Trial
COMMENTS: After the dreamlike prologue telling of the man who fruitlessly waits an entire lifetime for admittance to the Law, The Trial proper Continue reading 143. THE TRIAL (1962)