The Trial
Orson Welles considered “The Trial” to be his best film. Everyone
agrees that that title belongs to “Citizen Kane.” But who are we to
say? This is the creator who holds a certain piece of his work higher
than the others. Who are we to argue with him? Well, I’m going to bat
for “The Trial.” This is not only the best film Welles ever made, but
one of the all-time great examples of cinema.
Welles starts his film with a pin-art representation of another of
Kafka’s stories “Before the Law.” I don’t think that there are many
directors out there today that realize how much mood must be
established in the first few minutes of a film, especially when you’re
dealing with a dramatic piece. Welles does understand this, and
understands the power of his own voice as he narrates the story. He
says that “Before the Law” is theorized to be the logic of a nightmare,
and that the same theory is applied to Kafka’s “The Trial.” I’ve never
seen an introduction to any film that is at all like this opening. It
is visually, and contextually completely unique, and unsettling. It
may seem tempting to plow right into a Kafka story, throwing the viewer
off immediately, but Welles prepares the viewer before-hand, and the
film is all the better for it.
Anthony Perkins plays the protagonist (John K.) in “The Trial,” and I
am forever confused and saddened when I think that Perkins ended up
being type-cast for the latter part of his career in endless Psycho
sequels and movies like “Edge of Sanity.” Perkins was a rare talent.
He was completely convincing in any role he attempted, and seemed to
delve himself entirely into any role he was given. Even though the
circumstances that happen to John K. are disorienting (to say the
least), Perkins has the ability to allow us to understand his
characters’ motivations, and allow us to sympathize with his decisions.
It is one of the great movie rolls.
Perkins, in conjunction with the brilliant camera work, and the
twisting, existential storyline make “The Trial” as unique and
beautiful an example of movie-making as Kafka’s words made “The Trial”
one of the great novels. Welles plays with the perspective of his
camera, from wide shots of huge set pieces, to having characters come
directly at the viewer, to flying out in extremes of emotion. The plot
may be confusing, but it’s supposed to be. It may be frustrating to
watch, but again, it’s intentional. A film adaptation of a Kafka book
should try the viewer’s patience, because that’s in the spirit of
Kafka’s work. If you don’t want to be challenged, then look elsewhere
for your entertainment.
There are those out there who bemoan “The Trial,” and hate the
liberties that Orson Welles took with the story. I am of the view that
a movie should be different from the novel, as long as it keeps its
spirit alive. A film adaptation should be a companion to the book, not
a replacement. Welles wasn’t a perfect filmmaker, but he went beyond
perfection with “The Trial.” It is one of the great films of all time.
(Five Stars)