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Plot:
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...( read more 
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Recent Reviews
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MCT:May 9, 2008Two geniuses, Kafka and Welles, give life to the ultimate paranoid "individual versus state" fantasy. A nightmarish, mesmerizing parable with flawless camera techniques and a superb Anthony Perkins. I, as a law student, feel disgusted and yet fascinated by the beautiful display of bureaucratic chaos. One of the highest points of film-literature marriage.
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MCT:April 3, 2008Some nightmarish allegory of how justice can go bad. Cleverly directed, but sort of inapplicable and irrelevant today.
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MCT:March 23, 2008
An excellent rendering of Kafka's work onto the screen, using nightmarish black and white dream-imagery to represent the horrors of urban society and faceless bureaucracies. Perhaps a little bit *too* faithful to Kafka's text in terms of adapting it to the screen. The dialogue and acting is excellent at conveying the mystifying fog in Kafkaesque human interactions.
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MCT:February 4, 2008Orson Welles once said his adaptation of Franz Kafka's The Trial was his best film, and while there are several strong contenders, the film is right up there with Touch of Evil, Chimes at Midnight and Citizen Kane. One of the few Welles films to make it to the screen without the meddlesome interference of the studio system, the ambitious sense of atmosphere we've come to expect from Welles is allowed free reign. Never has an industrialized city looked more simultaneously beautiful and horrifying than in this surrealist nightmare of a man arrested for a reason that is described simply as 'abstract' and never really explained. While the film clearly is making parallels to the Holocaust, for people of my generation the film is extremely prescient considering the erosion of the rule of law and liberty since 9/11. While not a science fiction film per se, The Trial seems to me to have inspired a host of dystopian nightmares, especially Terry Gilliam's Brazil - interesting considering the comparisons that are often drawn between Gilliam and Welles. This is a knockout film, but one that is exceedingly claustrophobic and inaccessible. Highly recommended viewing, but I dare say one had better watch other Welles before coming to this one.
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Welles touches Kafka. Choosing my favorite Welles is nigh impossible, but of all his post-Kane films, perhaps this one features the least compromise, before he radically reinvented his aesthetic in the incredible F for Fake. But this is an elegy for unspoken things, shot in the Musée d'Orsay before it became that, it was just the ghost of the Gare d'Orsay where thousands of French jews were shipped out on trains to concentration camps. The lingering anti-semitic undertones of Kafka's work is transferred over into this work. Perhaps this is our finest holocaust film? Incredible shots too, though not the architectural masturbation of Othello, this feels more coherent, by strangely enough being the most blatantly incoherent of Welles' oeuvre.
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