IMDb > The Trial (1962)
Le procès
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The Trial (1962) More at IMDbPro »Le procès (original title)

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Overview

User Rating:
7.8/10   10,832 votes »
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Director:
Writers:
Pierre Cholot (adaptation)
Franz Kafka (based on the novel by)
(more)
Contact:
View company contact information for The Trial on IMDbPro.
Release Date:
30 March 1963 (Italy) See more »
Plot:
An unassuming office worker is arrested and stands trial, but he is never made aware of his charges. Full summary » | Add synopsis »
Plot Keywords:
Awards:
1 win & 1 nomination See more »
NewsDesk:
(39 articles)
Watch: Orson Welles’ Final Documentary 'Filming Othello'
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The Double Review
 (From We Got This Covered. 12 June 2014, 12:12 PM, PDT)

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 (From The Backlot. 29 January 2014, 6:27 AM, PST)

User Reviews:
Orson Welles's Best Movie See more (96 total) »

Cast

  (in credits order) (verified as complete)

Anthony Perkins ... Josef K.

Jeanne Moreau ... Marika Burstner

Elsa Martinelli ... Hilda
Suzanne Flon ... Miss Pittl
Madeleine Robinson ... Mrs. Grubach

Romy Schneider ... Leni
Max Buchsbaum ... Examining Magistrate

Arnoldo Foà ... Inspector A
Jess Hahn ... Second Assistant Inspector
Max Haufler ... Uncle Max
Thomas Holtzmann ... Bert the Law Student

Fernand Ledoux ... Chief Clerk of the Law Court
Katina Paxinou
Paola Mori ... Court archivist
Wolfgang Reichmann ... Courtroom Guard

Akim Tamiroff ... Bloch
Maurice Teynac ... Deputy Manager
Raoul Delfosse ... Policeman

Michael Lonsdale ... Priest
Naydra Shore ... Irmie
Carl Studer ... Man in Leather (as Karl Studer)

Orson Welles ... L'avocat
rest of cast listed alphabetically:
William Chappell ... Titorelli (uncredited)
Guy Grosso ... K's colleague (uncredited)
Billy Kearns ... First Assistant Inspector (uncredited)
Jean-Claude Rémoleux ... Policeman (uncredited)

Directed by
Orson Welles 
 
Writing credits
Pierre Cholot (adaptation and dialogue)

Franz Kafka (based on the novel by)

Orson Welles (written by)

Produced by
Robert Florat .... associate producer
Alexander Salkind .... producer (as Alexandre Salkind)
Michael Salkind .... producer (as Michel Salkind)
 
Original Music by
Jean Ledrut 
 
Cinematography by
Edmond Richard (director of photography)
 
Film Editing by
Yvonne Martin 
Frederick Muller  (as Fritz H. Muller)
Orson Welles (uncredited)
 
Production Design by
Jean Mandaroux 
 
Costume Design by
Helen Thibault (uncredited)
 
Makeup Department
Louis Dor .... makeup artist
 
Production Management
Robert Florat .... production manager
Paul Laffargue .... assistant production manager
Jacques Pignier .... unit manager
Emile Blondé .... assistant unit manager (uncredited)
Philippe Dubail .... assistant unit manager (uncredited)
 
Second Unit Director or Assistant Director
Marc Maurette .... first 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 .... second 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 .... creator: Les images du prologue ont été créées par - sur "L'Écran d'épingles" (as Alexandre Alexeieff)
Yves Laplanche .... promoter
Claire Parker .... creator: Les images du prologue ont été créées par - sur "L'Écran d'épingles"
Jacques Pignier .... administrator
Jacques Brua .... accountant (uncredited)
Sonia Bunodiere .... production secretary (uncredited)
Pierre Bénichou .... press attache (uncredited)
Paul Bürks .... voice dubbing (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)
 
Crew verified as complete


Production CompaniesDistributorsSpecial Effects
  • Lax (optical effects: Prologue)
Other Companies

Additional Details

Also Known As:
"Le procès" - France (original title)
See more »
Runtime:
118 min | USA:107 min (TV version : 1984)
Language:
Aspect Ratio:
1.66 : 1 See more »
Sound Mix:
Mono (Optiphone) (source format)
Certification:

Did You Know?

Trivia:
Orson Welles called this his best film.See more »
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.See more »
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...
See more »
Movie Connections:
Soundtrack:
Adagio in GSee more »

FAQ

How much sex, violence, and profanity are in this movie?
Is "The Trial" based on a book?
Is the novel available for reading online?
See more »
34 out of 45 people found the following review useful.
Orson Welles's Best Movie, 1 March 2001
Author: (reader4)

When asked on the IMDb poll to enter the name of my favorite movie, I at first thought it an impossible task. Once this one entered my mind, though, the contest was over.

The lifetime masterpiece of a master of filmmaking, "The Trial" is Orson Welles's finest film, even surpassing "Touch of Evil." Somber, brooding, sometimes even claustrophobic, "The Trial" is a surrealistic safari through the worlds of law, employment and interpersonal relationships.

The melancholy strains of the artistically deployed Adagio by Albinoni underscore the mood of the film, shot mostly at twilight or indoors by night in a tangle of nightmarish sets that extend to infinity. Even scenes shot in broad daylight seem cold and devoid of nourishment in this cosmos of interminable, infinitesimal complexity which utterly lacks a heart.

Anthony Perkins (Joseph K.) is mass of contradictions, at once sympathetic, boyish, paranoid, angry, declamatory and most of all surpassingly frustrated by the futility of attempting to deal with a society that both demands mechanistic perfection of him and at the same time exhibits a persistent apathy toward his continued existence as well as a bureaucratic attempt to destroy it.

He seems inadvertently to hurt everyone with whom he comes in contact, ostensibly the cause of people getting thrown out of their dwellings, schools, jobs, marriages and other situations, all due to his benign actions which in any sane world would be completely unconnected with the tragedies they somehow appear to create. But in the Kafka/Welles society, they just lead to blame and further accusations. In his helplessness, his innocence and his utter bafflement, Perkins is thoroughly disarming.

Welles is positively diabolical as The Advocate, who, like everyone else connected with the Court, is not of any assistance or support to the accused. Rather, he seems to exist only to hurl vague accusations at Joseph K. - which the poor man is somehow expected to understand beforehand and even think are justified - and to exact payment for same.

Romy Schneider is outstanding as The Advocate's cook/housekeeper/nursemaid/concubine, the only person in the story who shows Joseph K. any genuine affection, odd though the form it takes may be. Other unforgettable and universally strange characters populate this odyssey into oblivion, such as the club-footed landlady doggedly dragging a trunk along an empty railroad track into the fading twilight while politely trying to refrain from telling Joseph K. how lowly she regards him.

The movie is fairly divergent from the book, which it inspired me to read. For example, the movie comes to a conclusion, while the unfinished book does not. In most ways, though, I find the movie more memorable, haunting and downright disturbing. Its skillfully crafted mesh of images and symbols which resonate at a level deeper than the conscious will find themselves recurring to the viewer unbidden for years to come.

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Are there REALLY NO symbols in this film? deshovel
Explain this movie to me adam_stringer
To all of you who have read the book MillSwe
David Lynch Similarities? WhiteRevolver
Do those who hate this movie also hate the book? Anonymous-733
A nothing film. matrix5904
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