Macbeth, the Thane of Glamis, receives a prophecy from a trio of witches that one day he will become King of Scotland. Consumed by ambition and spurred to action by his wife, Macbeth murders his king and takes the throne for himself.
The Moorish general Othello is manipulated into thinking that his new wife Desdemona has been carrying on an affair with his lieutenant Michael Cassio when in reality it is all part of the scheme of a bitter ensign named Iago.
Josef K wakes up in the morning and finds the police in his room. They tell him that he is on trial but nobody tells him what he is accused of. In order to find out about the reason of this accusation and to protest his innocence, he tries to look behind the facade of the judicial system. But since this remains fruitless, there seems to be no chance for him to escape from this Kafkaesque nightmare.Written by
Joern Richts <email@example.com>
The "pin-screen," also called the "pin-board," used in the opening and closing sequences was invented by Alexander Alexeieff in the early 1930's. It is a board with pins stuck in it at regular intervals. The pins can be raised or lowered to form an image, which can then be lit and photographed. By manipulating the pins and photographing them one frame at a time, the device can be used for animation, and though it was not so used in "The Trial" Alexeieff and Claire Parker made at least two short animated films using the pin-screen, Une nuit sur le mont chauve (1933) and Le nez (1963). See more »
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 »
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. "Do not attempt to enter without my permission", says the guard. I am very powerful. Yet I am the least of all the guards. From hall to hall, door after door, each guard is ...
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The end cast credits are read over by Orson Welles without titles See more »
After reading some of the other user comments for this movie, I feel a bit out of my league. Unlike the other reviewers, I do not belong to Mensa, and I am not going to even TRY to show how this movie represents "social regimentation" or whatever.
Instead, I am simply going to say what I like best about it: the atmosphere. This is one of the most beautiful movies I have ever seen. Welles did a superb job of capturing an uneasy, nightmarish feeling. The camera angles and perspectives are perfect.
"The Trial" basically consists of scene after scene of surreal settings. We get to see endless rows of people working on typewriters, the inside of a crate while hundreds of eyes peer through the cracks, a labyrinth of tall bookshelves stacked with old law books, and tons of other dark surrealism that is amazing to look at.
As far as plot goes, Anthony Perkins is trapped in a corrupt judicial system, accused of an unspecified crime. He does a great job of making his character a paranoid wreck, and you can't help but feel paranoid yourself while watching the movie. Sometimes there is a spacious atmosphere, and other times it is extremely claustrophobic. And it is all perfectly done in black and white.
I highly recommend watching this, if only to look at the awesome sets. You will think you are in a nightmare yourself.
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