Much of Orson Welles' latter-day reputation as an "unfathomable" genius rests upon his seeming unwillingness to tell a story in clear, precise fashion. Sometimes, as in such films as Touch of Evil, Welles' spotty storytelling skills can be forgiven in the light of the excellent visuals. In other cases, as in his 1962 adaptation of Kafka's The Trial, Welles'style comes across as empty virtuosity, precious and petulant when it should be profound. Anthony Perkins plays Joseph K, a man condemned for
an unnamed crime in an unnamed country. Seeking justice, Joseph K is sucked into a labyrinth of bureaucracy (Welles once described the character as being a "little bureaucrat" himself, who deserves to be punished. This is never clearly expressed in the finished film). Along the way, he becomes involved with three women -- Jeanne Moreau, Romy Schneider, Elsa Martinelli -- who in their own individual ways are functions of the System that persecutes him. While Welles considered The Trial one of his finest films, this enthusiasm is not universally shared; even his most fervent admirers have been known to emerge from a screening of the film with quizzical, disappointed expressions on their faces. On the plus side, Welles and his cinematographer Edmond Richard perform miracles in transforming an abandoned French railway station into the headquarters of a totalitarian, red tape-ridden society. It's also fun to hear Welles' voice emanating from several of the supporting characters (his post-dubbing budget was nil). All in all, however, The Trial never truly works; it is unfair, however, to lay the blame for this entirely on Welles, inasmuch as the 1948 and 1994 attempts to cinematize the original Kafka novel likewise came a cropper. ~ Hal Erickson, Rovi
Though debatable as an adaptation of the Franz Kafka novel, Orson Welles's nightmarish, labyrinthine comedy of 1962 remains his creepiest and most disturbing work; it's also a lot more influential than people usually admit.
At best, it is another demonstration of the camera vers atility of Mr. Welles; at worse, a further Kafka demonstration extending to the demanding medium of the screen.
Orson Welles' bounced Czech, via Kafka. Not the masterpiece that many Welles fanatics claim, but intriguing and outrageous enough for genuine appreciation.
Welles applied his bravura directorial style to Kafka's landmark 1925 novel about Joseph K (Perkins), an office clerk who gets arrested without being told why.
A very strong and nightmarish piece from one of the masters of cinema, Orson Welles asks us to spend time with a man who is "put on trial" while on a road to self-recrimination and loss of sanity due to his own inner demons. It's a tough film to sort out and one must pay close attention in order to understand what's
going on. As a matter of fact, additional viewings may be required. Thankfully, the performances carry the film in its paranoiac downward spiral - making the dialogue really hop and move. Particularly from Perkins, who always seem to be rambling rather than speaking. With Welles' unorthodox camera angles and some extraordinary set design, the film is wonderfully engaging. It's obvious the influence it had on directors like David Lynch and Terry Gilliam (Brazil in particular).
March 1, 2011
Tim Salmons
Super Reviewer
This movie is very confusing and strange, but also intellectual and compelling, I didn't know what to think of it. I loved Perkins, but the movie itself could be better, less confusing I mean.
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