O Castelo

The scenes generally play out as they do in the novel, including the gaps from the novel, Haneke's view of Kafka's satirisation of bureaucracy. In 'Das Schloss' Kafka is at his usual absurd and pessimistic yet still very realistic idea of the world and the state. Themes and archetypes of alienation, physical and psychological brutality, parent–child conflict, characters on a terrifying quest, and mystical transformations. In existentialism, the individual's starting point is characterised by what has been called the existential attitude, or a sense of disorientation and confusion in the face of an apparently meaningless or absurd world. This is the film of the unfinished novel. It expertly captures the abject, horrifyingly ridiculous, paranoia existentialist view of Kafka. A land surveyor named 'K' is invited to the Castle to do some work for a Count, but when he arrives at a Village where he finds that nobody is expecting him. K's attempts to get into the Castle are as unsuccessful as his attempt to settle into the local village. Greeted but not welcomed by a collective reluctance from the villagers, who with a systematic inefficiency prevent him from any prospects of even approaching the castle. The harder the stubborn K tries, the more he moves from his goals. You never see either the Count or indeed The Castle. The whole series of events is shot during winter with a grainy effect - possibly as a result of a TV transfer to DVD. The film was originally made for Austrian TV. The film ends as the book does - unfinished. The late Ulrich Mühe and Sussane Lothar are exceptional. With respect to perhaps Orson Welles, this film could not be made by mainstream Hollywood - they wouldn't know what to do with it! Although the film is certainly not for everyone, perhaps for Haneke fans only.

A land surveyor,K.,is invited to the Castle to do some work for the Count,but when he arrives at the Village,he finds that nobody is expecting him.K.'s attempts to get into the Castle are as unsuccessful as his attempt to settle into the local village.He is greeted by a compact reluctance from the villagers,who with a systematic inefficiency prevent him from any prospects of even approaching the castle.The harder the stubborn K.,tries,the farther he moves from his goals.The impenetrable,seemingly haphazard but strangulating bureaucracy of the castle hinders the clarification of his social and existential situation.K. remains what he was on the day of his arrival:a stranger who is barely tolerated...Haneke's film version of Kafka's famous unfinished novel is an unusually faithful and highly successful literary adaptation.Kafka is,with his absurd,pessimistic yet still very realistic idea of the world,a sort of soulmate of Haneke's.

Unfinished works give rise to conjecture. How would Kafka intend to end this novel? Did he get tired of it? Did he avoid concocting an ending? K, a professional surveyor, arrives in a village during a winter storm. He is summoned by a Count whose castle overlooks that village. As might be expected in any Kafka story, K will not find the earl or perform any specific work. The castle of the title is not what you would expect, it is certainly not what the disappointed K expected to see, it is not even an old fortress or a new mansion, but a shady complex of countless small buildings close to each other. Swarms of crows circulate around the tower. It is clear that K's presence in the village is the result of a bureaucratic error. A surveyor had actually been requested by the Count some time ago, but the order had been canceled long before. Only Kafka would be able to explain why K does not leave the village - and only he would know how (or if) he intended to finish this unfinished masterpiece.

I'm crazy about Kafka. THE TRIAL is my favorite by Welles, and Juracek's homage Joseph KILLIAN is brilliant as well. So the thought of Haneke directing The Castle seemed like a promising idea. And he gets some of it right. The story is very faithful... obviously certain omissions are necessary, but the gist of it is there, and the scenes generally play out as they do in the novel. The long scenes juxtaposed with abrupt time cuts do a good job of evoking the unusual rhythms of Kafka. And Haneke knows better than to try to make K. an entirely sympathetic character. But it doesn't feel quite right. I have mixed feelings about the aesthetic. The drab palette is appropriate, but I couldn't help thinking that black and white would have suited the material better. And the voice-over felt entirely unnecessary to me. The novel is told in the third person voice, but it feels first person. Having some narrator chime in every few minutes didn't add anything. And it just didn't seem absurd enough. Perhaps it's a book that doesn't condense well, because you don't get the sense of K.'s epic, labyrinthine struggle. But it's a good effort.

This, apparently was made for TV by Michael Haneke. After having seen "The Trial" and read pretty much all the works of Kafka, one comes to expect something. Unlike the former, the protagonist is given many options, but never seems as confused as Joseph K was. He seems to feel that his job as a land surveyor trumps virtually anything, even though he is obviously not wanted. He will betray, barge in on, and do anything with the strange people he encounters, including marrying one of them, to get to that Castle. But as is the case with the existentialists, his path is as much a part of the thing, cold and dank and full of trauma, as ever actually reaching the Castle. And, why should such a place need a surveyor anyway. This is a nightmare come to life. He meets his assistants, a couple of twin "boys" and they have no surveying equipment. They have no knowledge of surveying, and yet off they go. Or sort of. It is an endless tromp through snow and buildings and meetings with obstructionists. And so it goes.