Kafka

Well, I viewed this Soderbergh vignette of the motifs, and fictionalization of some of the facts in the life of K. I must say that although I preferred Daniel Day-Lewis's T.V. rendition in the Insurance Man {1986}, I am a big fan of Jeremy Irons {loved his Cronenberg Dead Ringers "tour de force"} and always find his image arresting. I have a slight reservation about his look in this movie. What was particularly impressive acting-wise was the interaction between Sir Alec Guinness and Irons and later in the climax when the great Ian Holms and Irons battle it out for the heart and mind of Humanity - when Kafka declares "I merely write about Nightmares but you create them" I thought that the whole scenario when Kafka enters the Castle and encounters the labyrinthine corridors, the endless doors, the multitude of bureaucrats, culminating in a finely rendered Hitchcockian chase involving shadows, clocks and a precarious {edge-of-seat} balancing act on a glass-dome - powerful movie muti. I could see the movie clearly in my head over 24 hours later. You need not know anything about Kafka in order to enjoy this movie about an alienated young man who has taken an unambitious clerkship as a result of qualifying as a lawyer and now imagines himself a writer to escape the dreariness of his tasks. His hunger for the catharsis of worldly pleasures leads him to bohemian outlets which in turn leads to more radical connections { where he delivers his quintessential challenge to the writing profession "I don't write for others, I write for myself"}. The "femme fatale" is interestingly portrayed by Theresa Russell, who manages to combine the intellectual virago with a sensual ooze which contrasts well with Kafka's distracted isolation - I found it quite plausible that these two had an attraction for each other. This film offers a variety of content and substance. All that can happen if you give it a viewing is that you might learn more about the "Human Condition" Can that be such a bad thing?

Not very accessible film about supposed parts of the life of Franz Kafka with fantastic distinctive music and great photography. I really think Soderbergh is one of few (Welles, Gilliam, Cronenberg, Roeg maybe) who are able to create something like this. He is one of the most versatile directors of our time. Only his third feature (right after 'Sex, Lies & Videotape') and definitely his best besides Traffic. This film is one of the reasons independent filmmaking is the only way to achieve great cinematic creations. Kafka's twilight and absurd world is really portrayed in an excellent way.

The cinematography by Walt Lloyd is absolutely brilliant. The best of all films from the nineties. It was probably inspired by Brazil (1985), The Third Man (1949) and The Trial (1963). I wish this film was 60 minutes longer. If only to give the cast more time to perform completely. The acting isn't uplifting, but definitely not bad. All the actors had better performances in other movies (Theresa Russell in Track 29, Jeremy Irons in Dead Ringers, Jeroen Krabbe in King of the Hill, Ian Holm in Brazil).

10 points out of 10 ;-)

Much like David Cronenberg's 'Naked Lunch', 'Kafka' attempts to merge a biographical film and a literary adaptation, by combining elements from Franz Kafka's notoriously unfilmable books and stories with details from his real life. The thing is, where Steven Soderbergh's film is an admirable effort at filming Kafka's work, other films by more accomplished directors, made around the same time or several years earlier, managed to capture Kafka's spirit much more successfully without ever mentioning his name or the title of any of his works - Scorsese's 'After Hours', Woody Allen's 'Shadows and Fog', and to a lesser extent Terry Gilliam's 'Brazil' and Joel & Ethan Coen's 'Barton Fink' all achieve Kafka's unique feeling of futility and paranoia, as well as his pitch black sense of humor, while 'Kafka' resembles Kafka's writing mainly on the surface. This is the script's fault more than Soderbergh's, because the film looks great and delivers the dark, weird disconcerting feeling of Kafka's works, but by not delving into the philosophy behind them, by having almost no sense of humor, and by adhering to a pretty straightforward conspiracy plot, it remains little more than an aesthetic illustration of what a Kafka film might look like.

Despite a weak script, the film manages several memorable scenes, mainly thanks to terrific cinematography and a wonderful cast - Jeremy Irons, surprisingly, not being one of the film's standout performance. Rather, it's more minor characters played by Joel Grey, Armin Mueller-Stahl, Keith Allen, Simon McBurney and the great Alec Guinness in his last feature film role that stick to the viewer's mind, and for brief moments they can create the sense of paranoia, of surreal, nightmarish bureaucracy that is at the root of Kafka's writing; again, without the underlying philosophy, there's something unsatisfying about the overall result, and the story keeps distracting from the more interesting aspects. The film is, overall, interesting but frustrating; it's probably worth watching for Kafka fans, but it's not good enough to truly appease them. On the other hand, it may be too confusing for anyone who isn't familiar enough with his work.

An engaging and intriguing thriller that cobbles together elements of The Castle, The Trial and others and then places Kafka in the heart of the mystery. Most of the film is shot in black and white in a German expressionist style with plenty of long shadows and awkward angles and features some excellent set design. The predominantly British cast are very enjoyable with the likes of Irons, Alec Guiness, Ian Holm, Brian Glover, Keith Allen and others putting in solid performances. The ending brings it all to a somewhat overly neat, story-driven and action-filled conclusion with a slightly sci-fi/horror element and stock dystopic, totalitarian characters and dialogue that feels rather adolescent. So, whilst the film celebrates Kafka's work, it paradoxically trivializes it by subjugating it in deference to a tonal shift and plot-driven ending that panders to audience/producer needs. Hence, it ends up scuppering its potential and feeling a bit more like 'Brazil' than a serious examination of Kafka and his works' themes. It's not apparent whether everyone involved had a clear vision of what this film is supposed to be and who it is geared towards.

This is a really weird movie. People will instantly recognize that it is an adaptation of Franz Kafka's writing, and that's exactly what it is. It isn't an adaptation of any one book of his, but rather of his writing as a whole. All the Kafka-esquire things you'd expect are here: conspiracy, paranoia, mystery, and the like. What is so amazing that they come together absolutely fantastically. The cinematography is especially ingenious and really captures the mysterious and cryptic look and feel of a Kafka tale. The use of color and B&W is pretty simple, but very effective. In fact the whole movie is pretty simple, there are no spectacular stunts or extraordinary set pieces, just a relentless, nail-biting, suspense as Kafka searches for answers to who murdered his friend. He receives help from a supposed rebel group who talks of a secret order and conspiracy that works from the confines of a mysterious looking building outside of town, but they are soon murdered...so Kafka goes to find the truth for himself. First-rate suspense all the way. 10/10

Rated PG-13: some violence and grim content