FORUM ON ALL THINGS ORSON WELLES
https://wellesnet.com/wmb/
Those screening dates for The Trial include:
February 3 – 10 — Somerville, MA — SOMERVILLE THEATRE
February 5 – 6, 8 – 9 — Salt Lake City, UT — BROADWAY CENTRE CINEMAS
February 10 – 16 — Chicago, IL — MUSIC BOX THEATRE
February 10 – 16 — Sag Harbor, NY — SAG HARBOR CINEMA
February 12 & 16 — Nashville, TN — THE BELCOURT
February 19 — Edmonton, AB — METRO CINEMA
February 22 & 26 — Amherst, MA — AMHERST CINEMA
March 12 & 14 — New York, NY — FILM FORUM
March 17 – 23 — Silver Spring, MD — AFI SILVER THEATRE
March 19 & 25 — New York, NY — MUSEUM OF MODERN ART
March 31 – April 6 — Pittsburgh, PA — ROW HOUSE CINEMA
April 21 – 23 — Minneapolis, MN — TRYLON CINEMA
June 3 – 4 — Detroit, MI — DETROIT FILM THEATRE
Ray Pride from Chicago New City.It operates as if dreamed into concrete existence, though in the world of Josef K., played by Anthony Perkins, nothing’s concrete, or holds for long. He is a company man (we never hear what company; in Kafka, he’s a head cashier at a bank) accused of an unspecified crime. He tries to get answers and to fight the power, haplessly. His purported advocate, billed as The Advocate and played by Welles, is not a man of the people, simply a man out for one person, and that person is not his client.
Once accused, Josef K.’s surroundings are defined by obstacles and humiliations and piles of useless forms and detritus of a civilization without a human pulse. The movie has one, because it’s alive, barely controlled but often exquisite, every second. Distributed by Rialto Pictures, the tack-sharp new digital 4k restoration of “The Trial” opens Friday at the Music Box Theatre.
Kafka began writing his nightmare in 1914, before the Great War. He never completed it, though its abruptly ended, posthumously published form made perfect, jagged sense while going on to mess with millions of college-age brains worldwide for decades.
"Film Noir could be described as suffering with style." - Eddie MullerDead center is Anthony Perkins: handsome and agile, haunted yet antic. Look up “man,” man as Welles has created him: exacting haircut, encased in timeless tailoring, a trim suit, natty five-button vest, slim pants with pleats crisp as glass. In the hours of the film, among his superhero garments, only his perfect white shirt shows stress. The costume offers no distraction from the study of Tony Perkins in motion (and commotion). K. is a time traveler: he does not look out of place in these threads containing this commotion in 1915 (when Kafka’s book was written), 1925 (publication date), 1962 (film release), or even 2001, 2023. (The wicked costume design is by Helen Thibault.)