The Trial

Director: Orson Welles, Mar?a Ramos, Maria Augusta Ramos

Overview

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.

Product Details

Release Date:	07/09/2015
UPC:	0644827252428
Original Release:	1963
Source:	SKINBOUND
Language:	English
Sales rank:	22,475

Cast & Crew

Performance Credits

Orson Welles	Hastler, advocate
Anthony Perkins	Josef K.
Jeanne Moreau	Miss Burstner
Elsa Martinelli	Hilda
Romy Schneider	Leni
Akim Tamiroff	Bloch
William Kearns	1st Assistant Inspector,pierwszy asystent inspektora
Jess Hahn	2nd Assistant Inspector
Suzanne Flon	Miss Pittl
Madeleine Robinson	Mrs. Grubach
Wolfgang Reichmann	Courtroom Guard
Thomas Holtzmann	Bert, the Law Student
Maydra Shore	Irmie,Irmie
Max Haufler	Uncle Max
William Chappell	Titorelli
Fernand Ledoux	Chief Clerk
Maurice Teynac	Deputy Manager
Michel Lonsdale	Priest,ksi?dz
Max Buchsbaum	Examining Magistrate
Jean-Claude Remoleux	1st Policeman
Raoul Delfosse	2nd Policeman
Arnoldo Fo?	Inspector A
Karl Studer	Man in Leather,m??czyzna w sk?rze
Jean Ledrut	Composer
Dilma Rousseff	Actor
Jos? Eduardo Cardozo	Actor
Lindbergh Farias	Actor
Eduardo Cunha	Actor
Janaina Paschoal	Actor
Vera Miles	Actor
Jair Bolsonaro	Actor
Jandira Feghali	Actor
Gleisi Hoffmann	Actor
Michel Temer	Actor
Katina Paxinou	Actor
Paola Mori	archiwista s?dowy
Guy Grosso	Actor
Adagio Von Albinoni	Composer

Technical Credits

Orson Welles

Franz Kafka

Pierre Cholot

Antoine Tudal

Orson Welles	Screenwriter
Yves Laplanche	Producer
Alexander Salkind	Producer,Producer,Executive Producer,Producer
Franz Kafka	Screenwriter
Pierre Cholot	Screenwriter
Jacques Lebreton	Sound Effects
Guy Villette	Sound Effects
Julien Coutelier	Sound Effects
Urbain Loiseau	Sound Effects
Guy Maillet	Sound Effects
Antoine Tudal	Screenwriter

Scene Index

Symposium on Tinkering: the microevolution of development, held at the Novartis Foundation, London, 11-13 July 2006.

Editors: Gregory Bock (Organizer) and Jamie Goode.

This symposium is based on a proposal made by Brian Hall.

Daniel E. Lieberman The evolutionary developmental biology of tinkering: an introduction to the challenge.

Manfred D. Laubichler Tinkering: a conceptual and historical evaluation Discussion.

Rudolf A. Raff and Elizabeth C. Raff Tinkering: new embryos from old-rapidly and cheaply.
Discussion.

James M. Cheverud The relationship between development and evolution through heritable variation.
Discussion.

Adam S. Wilkins Genetic networks as transmitting and amplifying devices for natural genetic tinkering.
Discussion.
 

Paul M. Brakefield Butterfly eyespot patterns and how evolutionary tinkering yields diversity.
Discussion.

General discussion I.

Günter P. Wagner and Anna Marie Pyle Tinkering with transcription factor proteins: the role of transcription factor adaptation in developmental evolution.
Discussion.

Denis Duboule, Basile Tarchini, Jozsef Zàkàny and Marie Kmita Tinkering with constraints in the evolution of the vertebrate limb anterior-posterior polarity.
Discussion.

Irma Thesleff, Elina Järvinen and Marika Suomalainen Affecting tooth morphology and renewal by fine-tuning the signals mediating cell and tissue interactions.
Discussion.

General discussion II.

Benedikt Hallgrimsson, Daniel E. Lieberman, Nathan M. Young, Trish Parsons and Steven Wat Evolution of covariance in the mammalian skull.
Discussion.

David L. Stern The developmental genetics of microevolution.
Discussion.

Jukka Jernvall and Isaac Salazar-Ciudad The economy of tinkering mammalian teeth.
Discussion.

Michael A. Bell, Kaitlyn E. Ellis and Howard I. Sirotkin Pelvic skeleton reduction and Pitx1 expression in threespine stickleback populations.
Discussion.

Michael I. Coates, Marcello Ruta and Peter J. Wagner Using patterns of fin and limb phylogeny to test developmental-evolutionary scenarios.
Discussion.

Rebecca R. Ackermann Craniofacial variation and developmental divergence in primate and human evolution.
Discussion.

Contributor Index.

Subject Index.

Editorial Reviews

In this 1962 production, director Orson Welles uses the same black-and-white palette that made him famous in Citizen Kane to paint a surreal portrait of an ordinary man lost in the abyss of a totalitarian legal system. The plot is simple: Police arrest bank clerk Joseph K (Anthony Perkins) but refuse to tell him why. Citizen K then spends the rest of the film trying to exonerate himself. The theme of the film is the individual's powerlessness against the tyranny of a super state -- or any other force over which meager man has no control. The novel on which Welles based the film -- Franz Kafka's 1925 masterpiece Der Prozess (The Trial) -- used that theme to foreshadow the monstrous injustice of the fascist dictatorships of the 1930s. In the film, Welles follows Citizen K on his odyssey through a labyrinthine legal system that calls to mind the nine circles of Dante's Inferno. To intensify Citizen K's alienation, Welles isolates him in cavernous courtrooms and shadowy streets as K attempts to vindicate himself. Though unrelievedly gloomy, the motion picture has moments of off-the-wall humor. Citizen K's lawyer, for example, is Welles himself, a bedridden good-for-nothing whose nurse has webbed fingers. As K pursues justice, one can almost picture Welles behind the camera gleefully prodding his woebegone marionette deeper and deeper into his maze of despair. At the height of his frustration, K runs through a dark corridor with decaying walls admitting slivers of light that prick his sanity. Perkins exhibits the right mix of confusion, vulnerability, and rebellion to present his character as a hapless victim. Because the film sometimes looks more like a Dali painting than a motion picture, many critics dismissed it as trumpery after it debuted. Decades later, however, some critics took a second look at it, concluding that it was a work of genius. The consensus today is that there is no consensus. Depending on the viewer's tastes and perspective, The Trial is either supremely boring or supremely fascinating.