Der Prozeß

I am a major fan of any of Franz Kafka's literature. In fact I read everything ever written by Kafka who is the most unique writer in any language.

So I was very eager to see The Trial brought to the screen.

And I can tell you from this film fan's perspective, this movie was the real deal. Filmed in Kafka's home city of Prague, it shows the world that Kafka knew.

Exploring the life and spiraling downfall of Josef K., a young bank executive, it shows a nightmarish world in which a man is destroyed slowly and gradually.

It is a timeless story about being entrapped in a horrible bureaucracy in which there is no escape.

Josef K is visited by two roguish officers of the court and summoned to a bizarre court. The court comes to regular meetings and he is summoned throughout the story. He goes through the entire proceedings not knowing even what crimes he is being charge with.

The bizarre "court" is a cavernous building where families, children, adulterous spouses and bullying thugs inhabit. Everyone inside seems to have a function yet we never see the judges or those who are responsible for the fate of the story's protagonist.

In the meantime he continues to live is normal, dull life.

But the court continues to rule his life. And the harder he fights the court the more deeply entrenched he becomes.

Students of Kafka's literature will recognize the familiar themes: man against an inhumane bureaucracy, the eminant demise of man, the demise of freedom at the expense of rules and regulations, the literal use of metaphores and the ultimate doom of all humanity.

Its not your average story but for those who are seeking something different I would heartily recommend it.

The Trial, of course, can be interpreted in many different ways, as a personal statement against the struggle of man to hold his own against the forces of the universe, or perhaps as an attack on the inhumane bureaucracy inherent in authoritarian government. `Kafka's novels,' says genre critic Franz Rottensteiner, `move in a circle, and their helpless heroes are caught in the fabric of a world that is ever elusive to them. They are mere cogs in a senseless social machine.' However you interpret it, The Trial is not easy to forget and seems more relevant today than ever. Translating it to film is another story.

This version has all the stuff that the Welles version lacks -- superior performances, an expensive production beautifully photographed in Prague, an outstanding screenplay by Harold Pinter, and a faithful, almost literal, adherence to Kafka's novel. The only thing missing is wit, style, a spark of life, and creative energy. With Welles version, the film ends with a powerful impact; this one ends with a resounding thud.

Kyle MacLachan, who plays Joseph K. in this version, is best known for his performances as agent Cooper in the TV and movie versions of Twin Peaks. I believe he is a better actor than Anthony Perkins; however, I found his performance to be so emotionally distant that I did not care a whit about happened to him. Supporting performances are outstanding, especially Jason Robards as the Advocate and Anthony Hopkins as the prison chaplain. In spite of my considerable esteem for Mr. Pinter, this film is flat and lifeless and the experience is little different than listening to an audiotape of the novel.

This film was OK. The plot went along happily enough, but I thought things were a bit vague as to K's state of mind during the film and the ending seemed anticlimatical. I have not read the book and perhaps this is how it was supposed to be. The silliest thing I noticed about this film is that Anthony Hopkins took up the whole of my DVD cover and then only appeared for around 10 minutes of the about 2 hour film. I find this rather odd and amusing. Otherwise, I thought the film was well acted and had a lovely setting. 6/10

I'd seen the Orson Welles adaptation of The Trial some years ago, and only got around to finishing the book last night. I liked both quite a bit, but this 1993 adaptation (which I think is a TV movie, or at least feels like one in spirit), isn't so good.

It's easy to compare it to the previous adaptation, and point out all the things here that aren't as memorable, but what feels harder to work out is how this is technically a solid adaptation of the source material, but ultimately isn't as effective.

The dialogue and the way the story unfolds are in line with what's in the book, and there are some good actors here (though the usually good Kyle MacLachlan is miscast), but it's all just a bit flat and very ordinary at best. There aren't too many horrifically questionable choices made here, and little that I'd call outright terrible, but it's also just so boring. And I don't think it was really needed at all, considering the Welles version is very well-made and still holds up decades later.

Beautiful film, subtle exploration of Kafka's masterpiece nuances, slices of novel's atmosphere but only an ordinary adaptation.

In fact, a film about one of Franz Kafka's texts are an Utopian gesture. The sense of pages, the shadows of characters, the angst, fear or illusions, the magnificent style of one of best writers are crushed by vision of any director or art of actor. And the images are pieces of cold beauty without soul or honesty.

For "The Trial" adaptation is always present a trap: the image of Joseph K. as avatar of Kafka. Franz Kafka is only a Kakania's citizen, civil servant in a large empire, with small ambitions and desires, toy of his doubts and hesitations, dreads and lures.

Kyle MacLachlan is a correct interpret of character but, the fundamental error is the ambition to be a perfect Joseph K.. So, his acting is barren and empty.

Alfred Molina as Titorelli is charming but the interpretation of character is exercise of one type incarnation, the same in many nuances. Same situation for great Jason Robards.

The important virtue of film is the presence of Anthony Hopkins and the colors, shadows, illusions and accents gives to parable. It is not example of brilliant art but the science of words sense description. The words- medusa, words- ash, words- sand, words- velvet. In this small text is the crux of novel and film.

A splendid film, a acceptable adaptation.