THE TRIAL
A film review by James Berardinelli
Copyright 1994 James Berardinelli
Rating (Linear 0 to 10): 4.9
Date Released: varies Running Length: 2:00 Rated: No MPAA Rating (Violence, sexual situations)
Starring: Kyle MacLachlan, Jason Robards, Polly Walker, Alfred Molina, Anthony Hopkins, Michael Kitchen, David Thewlis Director: David Jones Producer: Louis Marks Screenplay: Harold Pinter based on the novel by Franz Kafka Music: Carl Davis Released by Angelika Films
It goes without saying that no one walks into a film adaptation of a Kafka novel expecting something created for general consumption. THE TRIAL, however, takes this a step further, as significant portions of the narrative are impossible to comprehend without an intimate knowledge of the author and his works. The book is strange; the movie, even stranger.
One morning, Josef K (Kyle MacLachlan) wakes up to find that he's been arrested for no apparent reason. There are no charges or, if there are, no one is willing to tell him what they are, and his "hearing" turns into a kangaroo court where a couple tumbles around on the floor in the throes of sexual abandon while Josef is trying to give an impassioned speech in his defense. Later, still trying to figure out what has gone wrong with the justice system, he seeks advice from various sources, including a painter (Alfred Molina), a lawyer (Jason Robards), and a priest (Anthony Hopkins).
THE TRIAL is a visually impressive motion picture, with many beautifully framed, gothic-like shots of Prague, where it was filmed. Equally noteworthy are a number of supporting performances, including those by Michael Kitchen (the king from TO PLAY THE KING and the owner of the villa in ENCHANTED APRIL), Polly Walker (also from ENCHANTED APRIL), Jason Robards, David Thewlis (NAKED), Alfred Molina, and (of course) Anthony Hopkins.
Kyle MacLachlan plays the part of Josef K with an icy detachment that makes the character seem all too like another MacLachlan personality--that of TWIN PEAKS' agent Cooper (odd how the actor seems to gravitate to bizarre projects). Unfortunately, Cooper and Josef aren't anything alike, and Mr. MacLachlan's aloofness creates a schism between the audience and Josef--it's difficult, if not impossible, to identify with THE TRIAL's protagonist. And what in the world is that on-and-off accent supposed to be?
Certain minor themes of the film are easily recognizable--those of the corruption of justice and the dehumanization of society--but the overall message of THE TRIAL remains murky. In a key scene near the end, Anthony Hopkins delivers a lengthy parable that is supposed to clear things up, but this sequence is so cryptic that it can easily leave the viewer even more confused than before.
Fundamentally, THE TRIAL is unsatisfying. High production values and good acting aren't everything. The film lacks energy, and comes across as a pedantic, obtuse, two-hour nightmare. Since the intentions of this film (and the novel from which it was adapted) do not come across clearly, "what's the point?" becomes a fair question to ask. Kafka aficionados will likely find a great deal to chew over, but most everyone else will be baffled and perhaps even a little annoyed.
- James Berardinelli (blake7@cc.bellcore.com)
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