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

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Pierre Cholot (adaptation)
Franz Kafka (based on the novel by)
View company contact information for The Trial on IMDbPro.
Release Date:
30 March 1963 (Italy) See more »
An unassuming office worker is arrested and stands trial, but he is never made aware of his charges. Full summary » | Add synopsis »
1 win & 1 nomination See more »
(55 articles)
User Reviews:
Aptly Ambiguously Layered 7 1/2 See more (97 total) »


  (in credits order) (verified as complete)

Anthony Perkins ... Josef K.

Arnoldo Foà ... Inspector A
Jess Hahn ... Second Assistant Inspector
Billy Kearns ... First Assistant Inspector (as William Kearns)
Madeleine Robinson ... Mrs. Grubach

Jeanne Moreau ... Marika Burstner
Maurice Teynac ... Deputy Manager
Naydra Shore ... Irmie

Suzanne Flon ... Miss Pittl
Raoul Delfosse ... Policeman
Jean-Claude Rémoleux ... Policeman
Max Buchsbaum ... Examining Magistrate
Carl Studer ... Man in Leather (as Karl Studer)
Max Haufler ... Uncle Max

Romy Schneider ... Leni

Fernand Ledoux ... Chief Clerk of the Law Court

Akim Tamiroff ... Bloch

Elsa Martinelli ... Hilda
Thomas Holtzmann ... Bert the Law Student
Wolfgang Reichmann ... Courtroom Guard
William Chappell ... Titorelli

Michael Lonsdale ... Priest

Orson Welles ... Albert Hastler - The Advocate / Narrator
rest of cast listed alphabetically:
Guy Grosso ... Josef K.'s Colleague (uncredited)
Paola Mori ... Court Archivist (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)
Art Direction by
Jean Mandaroux 
Costume Design by
Helen Thibault (uncredited)
Makeup Department
Louis Dor .... makeup artist
Production Management
Robert Florat .... production manager
Paul Laffargue .... assistant: director of production
Emile Blondé .... assistant unit manager (uncredited)
Philippe Dubail .... assistant unit manager (uncredited)
Jacques Pignier .... unit 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 .... second assistant camera (uncredited)
Editorial Department
Andrea Gargano .... final colorist (uncredited)
Roberto Perpignani .... assistant editor (uncredited)
Gérard Pollicand .... associate editor (uncredited)
Music Department
Tomaso Albinoni .... composer: additional music
Jean Ledrut .... music arranger (uncredited)
Other crew
Alexander Alexeieff .... creator: prologue scenes on "Pin-screen" (as Alexandre Alexeieff)
Yves Laplanche .... promoter
Claire Parker .... creator: prologue scenes on "Pin-screen"
Jacques Pignier .... administrator
Alexander Salkind .... presenter
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 »
119 min | USA:107 min (TV version : 1984)
Aspect Ratio:
1.66 : 1 See more »
Sound Mix:
Mono (Optiphone) (source format)

Did You Know?

The part of Uncle Max was dubbed by Peter Sallis.See more »
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 »
[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 »
Adagio in GSee more »


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 »
30 out of 42 people found the following review useful.
Aptly Ambiguously Layered 7 1/2, 4 August 2002
Author: tedg ( from Virginia Beach

Spoilers herein.

Welles is one of the three primary inventors of cinema. And when he says this film is his best -- and autobiographical to boot -- one should sit up and take notice.

It is a remarkable experience, this film. Here are some elements I found interesting that are not yet noted here.

The impressive interiors are in a then abandoned train station. Today, that building houses the world's greatest collection of impressionist and postmodern art. One can walk around that museum and locate many of the locations used. It is an unhappy building now: it has many objects as important as this film or the book it is based on -- and their intent is as iconoclastic as Welles and Kafka, but it is run as a heavyhanded, relatively totalitarian institution. One gets much the same feeling of trapped artists now walking around it as one gets from this film.

Here's a puzzle for you: what black and white film was made in Europe by a master filmmaker; released in 1963; is a surreal depiction of an artist's angst; uses the device of many lovers or potential lovers in an imaginary array of sexual partners; arranged according to stereotype; is autobiographical and considered by the filmmaker his best. Both this and 8 1/2. Too many similarities for this to be accidental, including some stylistic touches (the painter). Both are films about film-making.

Welles uses actors in a then unusual way. It had long been the practice to take actors of ordinary skill and fit them to characters that more or less match their personality. But that practice simply took advantage of what the actor could do and was as much a matter of the actor exploiting the system as anything else. Welles here exploits Perkins, an actor who hasn't a clue about what is going on and so never finds the character. Clearly Welles wanted the effect of utter disorientation and knew Perkins could not consciously produce it.

Others have since used this technique (the Coens come to mind), sometimes with celebrities who will be really ticked when they emerge from their fogs.

A final interesting element: the framing. Welles is a master of mixing and conflating narrative methods. 'Kane' surely holds the record. Here, he is constrained by the pre-existing text: it is important that there be few narrative threads: Perkins' confusion and denial; the 'state's version; and the whole thing may be a dream or paranoid vision. Welles for instance cannot imply that the whole thing is one of the painter's paintings for instance, something he would have included in a flash if he could. So he extends his narrative layers offscreen by explicitly referencing it as a play he is doing, as a book (a 'dirty' book), and most creatively as an illustrated parable. He frames the film with drawings that are halfway between book illustrations and theatrical set designs. And he narrates them in a manner halfway between a drama and a reading. Very, very clever use of framing to increase the narrative layers by reference beyond what you see.

Ted's Evaluation: 3 of 4 -- Worth watching.

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Petition Criterion for a Blu-Ray? MiloMindbender
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A nothing film. matrix5904
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