Josef K wakes up in the morning and finds the police in his room. They tell him that he is on trial but nobody tells him what he is accused of. In order to find out about the reason of this accusation and to protest his innocence, he tries to look behind the facade of the judicial system. But since this remains fruitless, there seems to be no chance for him to escape from this Kafkaesque nightmare. –IMDb
The prodigy son of an inventor and a musician, Welles was well-versed in literature at an early age, particularly Shakespeare, and, through the unusual circumstances of his life (both of his parents died by the time he was 12, leaving him with an inheritance and not many family obligations), he found himself free to indulge his numerous interests, which included the theater. He was educated in private schools and traveled the world. He found it tougher to get onto the Broadway stage, and get a job with Katharine Cornell. He later became associated with John Houseman, and, together, the two of them set the New York theater afire during the 1930s with their work for the Federal Theatre Project, which led to the founding of the Mercury Theater. The Mercury Players later graduated to radio, and their 1938 “War of the Worlds” broadcast made history when thousands of listeners mistakenly believed aliens had landed on Earth. In 1940, Hollywood beckoned, and Welles and company went west to… read more
Una magistrale interpretazione di Kafka in cui Welles si scatena come suo solito,partendo in sordina per poi scatenarsi con meravigliosi virtuosismi barocchi e claustrofobici.La paranoia e il surreale aleggiano costantemente nella pellicola,che ha il merito enorme di trasmettere allo spettatore l'angoscia esistenziale del suo protagonista.Un'opera complessa e difficile,ma certamente immensa:in due parole,IL CINEMA.5*
Where Welles supersedes Kafka as the principal narrator of Der Process. The maxim of the original source maintaining supremacy, where subtleties trump abridgement, and nuance runneth over beats nuance foregone, dies hard. Pragmatically, Welles emphasises the lurid human procession over the inner philosophical struggle, and, with his dynamic modernist restaging and characteristically frenzied direction - alone worth the price of admission - succeeds with aplomb, thus deeming his version expressive even within such diminished confines.
... yet the door never really closes. We can still watch through it. That is... what cinema really is. Life in itself, even. Looking through that slightly ajar door. We may not be allowed to enter - even if we were fooled in the first place not to get inside - but we shan't let it be shut. Never.
I have read Kafka’s The Trial, but I have no interest comparing Welles’ film to its source material as doing so because Welles’ film was inherently cinematic and needs no comparison to its… read review
What do you get when you combine two masters at their craft like Franz Kafka and Orson Welles? Why, The Trial is your answer, a heady, surrealistic commentary on society and justice. Much like the… read review