Le procès (1962)

Director:

Orson Welles

Writers:

Franz Kafka (novel)
Orson Welles (screenplay)
(more)

Release Date:

30 March 1963 (Italy)

Genre:

Crime | Drama | Fantasy | Mystery | Thriller

Plot:

An unassuming office worker is arrested and stands trial, but he is never made aware of his charges.

Plot Keywords:

Courtroom | Based On Unfinished Work | Deep Focus | Kafka Esque | Fight The System

Awards:

1 win

Cast

Anthony Perkins	...	Josef K.
Jeanne Moreau	...	Marika Burstner
Romy Schneider	...	Leni
Elsa Martinelli	...	Hilda
Suzanne Flon	...	Miss Pittl
Orson Welles	...	Albert Hastler (The Advocate)
Akim Tamiroff	...	Bloch
Madeleine Robinson	...	Mrs. Grubach
Arnoldo Foà	...	Inspector A
Fernand Ledoux	...	Chief Clerk of the Law Court
Michael Lonsdale	...	Priest
Max Buchsbaum	...	Examining Magistrate
Max Haufler	...	Uncle Max
Maurice Teynac	...	Deputy Manager
Wolfgang Reichmann	...	Courtroom Guard
Thomas Holtzmann	...	Bert the law student
Billy Kearns	...	First Assistant Inspector
Jess Hahn	...	Second Assistant Inspector
Naydra Shore	...	Irmie, Joseph K.'s cousin
Carl Studer	...	Man in Leather
Jean-Claude Rémoleux	...	Policeman
Raoul Delfosse	...	Policeman
William Chappell	...	Titorelli
rest of cast listed alphabetically:
Guy Grosso	...	K's colleague (uncredited)
Paola Mori	...	Court archivist (uncredited)

Directed by
Orson Welles

Writing credits
Franz Kafka		(novel)
Orson Welles		(screenplay)
Pierre Cholot		(French dialogue adaptation) uncredited

Produced by
Michael Salkind	....	executive producer
Alexander Salkind	....	producer (uncredited)

Original Music by
Jean Ledrut

Cinematography by
Edmond Richard

Film Editing by
Yvonne Martin
Frederick Muller		(as Fritz H. Muller)
Orson Welles		(uncredited)

Art Direction by
Jean Mandaroux

Costume Design by
Helen Thibault		(uncredited)

Makeup Department
Louis Dor	....	makeup artist

Production Management
Robert Florat	....	production manager
Emile Blondé	....	unit manager (uncredited)
Philippe Dubail	....	unit manager (uncredited)
Jacques Pignier	....	unit production manager (uncredited)

Second Unit Director or Assistant Director
Marc Maurette	....	assistant director
Sophie Becker	....	assistant director (uncredited)
Paul Seban	....	assistant director (uncredited)

Art Department
Jean Bourlier	....	assistant art director (uncredited)
Jacques Brizzio	....	assistant art director (uncredited)
Madame Brunet	....	dresser (uncredited)
Jean Charpentier	....	upholsterer (uncredited)
Francine Coureau	....	upholsterer (uncredited)
Jacques D'Ovidio	....	assistant art director (uncredited)
André Labussière	....	set dresser (uncredited)
Claudie Thary	....	dresser (uncredited)
Pierre Tyberghein	....	assistant art director (uncredited)

Sound Department
Jacques Lebreton	....	sound mixer
Guy Villette	....	sound
Julien Coutelier	....	sound (uncredited)
Urbain Loiseau	....	assistant sound (uncredited)
Guy Maillet	....	assistant sound (uncredited)

Special Effects by
Denise Baby	....	special effects editor (uncredited)

Camera and Electrical Department
Adolphe Charlet	....	camera operator
Roger Corbeau	....	still photographer
Max Dulac	....	assistant camera
Robert Fraisse	....	assistant camera (uncredited)

Editorial Department
Andrea Gargano	....	final colorist (uncredited)
Gérard Pollicand	....	associate editor (uncredited)

Music Department
Jean Ledrut	....	music arranger

Other crew
Alexander Alexeieff	....	prologue scenes
Paul Laffargue	....	assistant to director of production
Yves Laplanche	....	promoter
Claire Parker	....	prologue scenes
Jacques Pignier	....	administrator
Jacques Brua	....	accountant (uncredited)
Sonia Bunodiere	....	production secretary (uncredited)
Pierre Bénichou	....	press attache (uncredited)
Henry Dutrannoy	....	production administrator (uncredited)
Marie-José Kling	....	script supervisor (uncredited)
Florence Malraux	....	press attache (uncredited)
Guy Maugin	....	location manager (uncredited)
André Nicard	....	publicist (uncredited)
Gisèle Pellet-Collet	....	production secretary (uncredited)

Production Companies

• Paris-Europa Productions
• Hisa-Film (co-production)
• Finanziaria Cinematografica Italiana (FICIT) (co-production)

Distributors

• UFA-Cormacico (1962) (France) (theatrical)
• Astor Pictures Corporation (1963) (USA) (theatrical)
• Suomi-Filmi (1963) (Finland) (theatrical)
• Mainostelevisio (MTV) (1984) (Finland) (TV)
• TV3 (1989) (Finland) (TV)
• Roan Group, The (1997) (USA) (VHS)
• Roan Group, The (1997) (USA) (video) (laserdisc)
• Hollywood Classics (1998) (USA) (VHS)
• Milestone Film & Video (1998) (USA) (VHS)
• New Yorker Video (1998) (USA) (VHS) (widescreen) (for Milestone Film & Video)
• Take 2 Video (1998) (USA) (VHS)
• VCI Home Video (1998) (USA) (VHS)
• Fox Lorber (1999) (USA) (VHS)
• Delta Expedition (2000) (USA) (DVD)
• Image Entertainment (2000) (USA) (DVD)
• FOCUSfilm Entertainment (2001) (USA) (DVD)
• FOCUSfilm Entertainment (2001) (USA) (VHS)
• Madman Entertainment (2002) (Australia) (DVD)
• Alpha Video Distributors (2003) (USA) (DVD)
• Alpha Video Distributors (2004) (USA) (DVD)
• Reel Media International (2004) (USA) (VHS)
• Passport International Entertainment (2006) (USA) (DVD)
• YLE Teema (2006) (Finland) (TV)
• DNC Home Entertainment (2007) (Italy) (DVD)
• Reel Media International (2007) (USA) (all media)
• Sandrew Metronome Distribution (2008) (Finland) (DVD)
• Universal Pictures Home Entertainment (2008) (Germany) (DVD)
• Astor
• Connoisseur Video (????) (UK) (VHS)
• Studiocanal Vidéo (????) (France) (DVD)
• Union Générale Cinématographique (UGC)

Other Companies

• Chappell  music editing
• LAX Lab.  optical effects
• Marlene Weisman Abadi  vhs design (1998 New Yorker release)
• Milestone Film & Video  VHS package design (1998 New Yorker release)
• Philips  soundtrack
• Screen Time Images  audio restoration
• Screen Time Images  film restoration
• Studios de Boulogne  studios

Also Known As:

"The Trial" - International (English title) (imdb display title), USA
"Der Prozess" - West Germany
"Il processo" - Italy
"El proceso" - Argentina, Spain, Uruguay
"O Processo" - Brazil, Portugal
"A per" - Hungary
"Dava" - Turkey (Turkish title)
"Der Prozess" - Austria
"I diki" - Greece (transliterated ISO-LATIN-1 title)
"Oikeusjuttu" - Finland
"Proces" - Poland
"Processen" - Denmark
"Processen" - Norway
"Processen" - Sweden
"Procesul" - Romania

Runtime:

118 min | USA:107 min (TV version : 1984)

Country:

France | West Germany | Italy

Language:

English

Color:

Black and White

Aspect Ratio:

1.66 : 1

Sound Mix:

Mono (Optiphone) (source format)

Certification:

Canada:PG (Ontario) | Finland:K-12 (re-rating: 1981) | Finland:K-16 (original rating: 1963) | Portugal:M/12 | Argentina:13 | Australia:PG | New Zealand:PG | Norway:16 | Sweden:15 | UK:PG | West Germany:16 (bw)

Filming Locations:

Gare d'Orsay, Paris 7, Paris, France

Company:

Paris-Europa Productions

Trivia:

The scene of K's office was filmed in the Paris train station, Gare d'Orsay, shortly after it was closed and before it became an art museum.

Goofs:

Continuity: When Josef K. follows Hilda being carried out of the large trial room/hall by the law student, he hastily grabs and throws on his suit jacket. In the succeeding scenes, the jacket's buttons which are buttoned changes.

Quotes:

[first lines]
Narrator:Before the law, there stands a guard. A man comes from the country, begging admittance to the law. But the guard cannot admit him. May he hope to enter at a later time? That is possible, said the guard. The man tries to peer through the entrance. He'd been taught that the law was to be accessible to every man...

Movie Connections:

Referenced in Romy (2009) (TV)

Soundtrack:

Adagio in G

This is how you film a literary classic: not by toadying to it, but by assuming that you created it yourself.

This is probably Welles' most complete masterpiece since CITIZEN KANE. Not that it's better than AMBERSONS or TOUCH OF EVIL, but there's a wholeness, a freedom from interference, a focusing of vision that's complete. It's also a relief to be able (for once)to enjoy a Welles performance from this period, rather than laughing with him at its crass silliness. Akim Tamiroff is (as ever) extraordinary, while Anthony Perkins captures the mixture of nervousness and arrogance central to Welles' K.

THE TRIAL is also a textbook lesson in how to film a classic text. While cinema thrives on the second-rate, transcending and enriching banality, it tends to founder when it appropriates the Great Works, due in part to the incompatibility of forms, but mostly because of pointless reverence. Why bother being completely faithful to, say, Howard's End, when we can read the book. Surely the only reasons to film a classic are to a)make it adaptable to film form; b)make it relevant to our age; or c)make it relevant to the director's sensibility.

Welles, on one level, is certainly faithful to Kafka's vision. We get a nightmare depiction of bureaucracy gone mad, of the increasing, unidentifiable totalitarianism of modern life, of the persecution of the individual, of the impossibility of rebellion and alternatives. The sense of labyrinth and nightmare, and a desolate world abandoned by God, is chillingly evoked in the film's astonishing visual framework, the hallucinatory set-pieces, the disorientating comedy, the bewildering logic. The knowledge that K.'s workplace was filmed in a disused railway station only adds to the film's complexity - this is a society cut off from other people, ideas, civilisations; one where there is no coming or going, no escape.

And yet Welles subverts all this. By removing Kafka's ambiguity, he makes the work more ambiguous. Unlike the book, Welles draws attention to the fact that this is a nightmare. K. begins the film getting dressed, and ends it stripping, the reverse process of going to sleep (i.e. to move plausibly back from the dream world to reality, K. has to return to the state that led to dream, unclothed in bed).

The suggestion that his adventures are a dream draws attention to the film's main theme - the dangers of solipsism. K. is a paranoid - because he sees the world only from his point of view, he feels that everyone is out to get him. His selfishness is subtly hinted at throughout the film, by his stated profession not to get involved with anything, to avoid problems, to avoid others' problems, to keep himself to himself, and get on. Of course, this means that no-one will help him, as he finds out throughout the film. And if everybody is indifferent to their neighbour, than no wonder people are burned in death camps. Wasn't that the excuse of 'ordinary' Germans after the war? 'We knew nothing about it'.

That's why well-fed K. with his privileged job, is greeted by a gaunt group of camp victims. Welles has to remould The Trial in the knowledge of the Final Solution. This is accomplished by parodying K.'s us vs. them outlook,k with a complex doubling pattern - private scenes bursting into mass activity; Dreyeresque austerity alternating with Wellesian baroque; a dynamic jazz score merging into Albinoni's tragic, apocalyptic, funereal Adagio.

Both readings aren't exclusive: they play off each other. Creating an appropriately Kafkaesque spiral of terror, the climactic scene - a classic Wellesian stand-off between K. and the Advocate (seemingly on his side, but really a playful collaborator), completes the dissolution of the individual. They are shown to be indistinguishable, mere shadows of men. I do not say that we fail to sympathise with K. - his light IS harrowing, but though his closing laugh can be interpreted as an admission of the Absurdity of the universe, it's a world made in his image.