Per_Klingberg

One of Fritz Lang's most wellknown works, and a classic piece of German expressionism. A sequel to the silent film 'Dr. Mabuse, der spieler', archcriminal Mabuse has now been driven way beyond sanity and has spent the last eleven years in an asylum.

Our dear doctor spent the first few years in a catatonic state, totally unreachable. Then one day something akin to progress was made. The patient started to scribble down what seemed like gibberish on the walls. The patient was given paper to write on, and since then Mabuse has been writing nonstop, line after line, paper after paper. Acknowledged doctor Baum has ever since taken a great deal of interest both in his patient and in this "work" of his. If one momentarily could just step inside Mabuse's sick and twisted mind, then a cure might be possible...

And then it happens. Baum manages to decipher the text, and realizes that what he has in his hand might very well be a political essay of the same importance and power as Machiavelli's 'The Prince'. Throw mankind in the deepest abyss of despair, Mabuse says, using any means possible. Through random acts of violence, through organized terrorism, whatever will lead mankind to the brink of destruction. And then claim power.

Soon after this discovery strange crimes are being committed, and rumors of an organized criminal movement mobilizing underground are spread. It does not take long until Berlin is a city in terror.

This is where commissioner Lohmann comes in, doing his best to trace down the roots of the terrorist groups. Strangely enough, the evidence seems to point towards - the asylum and Dr. Mabuse!

The first half of this film is classic horror - through a visit to the asylum and a lecture by Baum we learn of Mabuse's work. And when we, together with Lohmann, is introduced to Mabuse (locked up in his cell) and meet his maddened gaze...well, it's a truly CHILLING moment!

We also learn of how a young man with good intentions through poverty is forced to seek work in organized crime. While trying to leave the group he realizes there is only one way out: death. Another claustrophobic and suspenseful moment in the movie.

Somewhere in the latter half of the movie things get a little out of hand. When the mystery with Mabuse's influence on the outside world finally has been solved, some of the incredible dark atmosphere is lost. Instead we get more of a traditional crime/suspense-kind of film, and the high amount of plots makes the film drag on just a little too long.

The eery atmosphere in the earlier parts of the movie, the fantastic expressionist style and many original and innovative moments makes this a 'must-see' for those with an interest for early German Cinema, or those looking for the roots to genres as horror and film noir. While the early parts of this movie is a definite masterpiece, the latter half feels somewhat flawed though.

7/10

When a novel is to be translated to the silver screen, the director will immediately face a dilemma. How will he approach the translation? Will he try to be as faithful to the original piece of work as possible, avoid to give his own interpretation of the novel, not risking the wrath of devoted readers?

Or will he try to see to what he believes to be the true spirit of the work, and express it in a new way? After all, books and films are different medias and thinking of how much is lost without the author's special language and distinct style - for an example -, shouldn't a director try to make up for that loss by adding something unique for film?

I would go for the latter. Otherwise your filmversion of an essential piece of literary work will be just that: a version of an essential book, not an essential film in itself.

Of course this can cause a lot of controversy, and there's no doubt that some directors have managed to completely ruin an excellent book when trying to make 'their own' version of it. BUT, look for an example at 'A Clockwork Orange'. Burgess intricate play with language and manipulation of the reader - slowly taking him into Alex's world and way of thinking - simply will not be translated into film. So instead Kubrick used the unique opportunities of film and managed to combine the use of audio and vision to stunning effects. Kubrick managed to make something own out of it, no question about it.

And that's what I feel is missing in 'The Trial'. Yes, it is a perfectly well-done job. I couldn't think of a more suitable actor for Josef K than Kyle 'Agent Dale Cooper' MacLachlan: that's EXACTLY the way I envisioned him when reading the novel! Also the settings in Prague provides the movie with beautiful and suitable backgrounds. Though some scenes, for lengths sake, has been cut short it also stays true to the events in the novel and manages to catch some of the atmosphere in the novel.

The movie is carried through very competent, the actors are talented and there's a a nice 'Godfather'-esque grainish color on top of it all. No, this isn't a bad movie. On the contrary!

But why shouldn't I rather read on the novel myself? Because what is really comes down to is this: if a translation from one media to another is to be successful, it can never be just a translation. It has to stand on it's own legs.

And that's where this film fails. We aren't offered any new perspectives or different ideas on Josef K and his torments. Quite simply, it's an enjoyable watch but probably holds appeal mostly to those who don't have the time or interest to read the novel instead.

6/10