Is anybody checking out this print of The Trial? I usually ignore this great film on TCM because the print TCM usually plays is horrible. What they are showing now is a very clear looking widescreen image. I just checked on Amazon, and apparently Milestone is responsible for this great looking remastered print:
http://tinyurl.com/6hpjaj
Wonderful news!
The Trial (1963) NEW PRINT!
This DVD sits among my stack of To-Watch, and I couldn't help but 'sneak ahead' and watch TCM's broadcast of it, despite Wifey's occasional finger wagging. (She's SO mean to me.) After seeing just bits and pieces of THE TRIAL, I can't help but laugh at more modern filmmakers who brag and boast about THEIR efforts being 'groundbreaking' or 'revolutionary'.
They're far better at chest-beating than anything else - and certainly better than accurate self-labeling.
They're far better at chest-beating than anything else - and certainly better than accurate self-labeling.
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Mr. Arkadin
- Posts: 2645
- Joined: April 14th, 2007, 3:00 pm
I popped in the new DVD and it looks great - or at least, "as expected" - a standard which came from last night's broadcast.
When I think back to the 1936 THINGS TO COME (Raymond Massey), 1935's THE TUNNEL ("Transatlantic T" with Richard Dix) or the far earlier DR MABUSE films, and probably a hundred others, I have greater disdain when modern marketing lies about so many new films employing "revolutionary" filmmaking techniques.
I should probably look up some Perkins bio's to see what he thought of his '50s and early '60s career. THE TRIAL is certainly 'his' film, and I'd never seen it before while FEAR STRIKES OUT and others receive the bulk of broadcast attention.
THE TRIAL strikes me as a showcase for cinematographers and a filmmaker willing to enjoy all of those capabilities. I'm sure that first-time theater-goers - expecting some 'standard' courtroom drama - were terrifically disappointed in THEIR expectations. But for those enjoying the art capabilities of film, this film should get high marks for those experiments alone.
When I think back to the 1936 THINGS TO COME (Raymond Massey), 1935's THE TUNNEL ("Transatlantic T" with Richard Dix) or the far earlier DR MABUSE films, and probably a hundred others, I have greater disdain when modern marketing lies about so many new films employing "revolutionary" filmmaking techniques.
I should probably look up some Perkins bio's to see what he thought of his '50s and early '60s career. THE TRIAL is certainly 'his' film, and I'd never seen it before while FEAR STRIKES OUT and others receive the bulk of broadcast attention.
THE TRIAL strikes me as a showcase for cinematographers and a filmmaker willing to enjoy all of those capabilities. I'm sure that first-time theater-goers - expecting some 'standard' courtroom drama - were terrifically disappointed in THEIR expectations. But for those enjoying the art capabilities of film, this film should get high marks for those experiments alone.
Enjoyed The Trial...I love it when something far exceeds what I expected. I recorded it because I sensed, from what I had read of it, that it was a film I should see. That caused its viewing to begin with one strike against it.
Of the things I liked about it (which were several), was Perkins, (never in my top 100 favorites) and the ever so successful making the movie have a dream-like quality. I consider this Perkins' best effort and I actually felt the similiarity in Welles' artistically induced nightmare to some I have actually dreamed myself.....that eerie can't get out maze feeling with the key to solving, whatever limbo I am in, forever just slightly out of reach.
Makes one feel that perhaps Citizen Kane should be viewed one more time.
Of the things I liked about it (which were several), was Perkins, (never in my top 100 favorites) and the ever so successful making the movie have a dream-like quality. I consider this Perkins' best effort and I actually felt the similiarity in Welles' artistically induced nightmare to some I have actually dreamed myself.....that eerie can't get out maze feeling with the key to solving, whatever limbo I am in, forever just slightly out of reach.
Makes one feel that perhaps Citizen Kane should be viewed one more time.
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jdb1
I hadn't seen this one since its first run in theaters, when I was really too young to get it.
Unfortunately, I caught only the last 20 minutes or so this time, but I loved what I saw. I agree that AP is terrific in this - one of the sort of roles he was made for, as was Norman Bates. This was during the period when AP went to Europe to escape the Psycho furor and to try to avoid typecasting in Hollywood, but he made several movies in Europe that were in this vein, and eventually he came back to the US, realizing that, as we say now, it is what it is. Rather than fighting his Bates image, he went with it when the opportunity presented itself.
I loved the Expressionist look of the film and the non sequitur dialog, something I didn't really like the first time, but now realize is just right for the subject matter. Poor Orson, how he struggled to get his movies made, and how much better they would have been if he had had the support he really needed.
Unfortunately, I caught only the last 20 minutes or so this time, but I loved what I saw. I agree that AP is terrific in this - one of the sort of roles he was made for, as was Norman Bates. This was during the period when AP went to Europe to escape the Psycho furor and to try to avoid typecasting in Hollywood, but he made several movies in Europe that were in this vein, and eventually he came back to the US, realizing that, as we say now, it is what it is. Rather than fighting his Bates image, he went with it when the opportunity presented itself.
I loved the Expressionist look of the film and the non sequitur dialog, something I didn't really like the first time, but now realize is just right for the subject matter. Poor Orson, how he struggled to get his movies made, and how much better they would have been if he had had the support he really needed.
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Mr. Arkadin
- Posts: 2645
- Joined: April 14th, 2007, 3:00 pm
What's so amazing about this film, is Welles ability to improvise and make limitations work for him. When his orginal plans fell through, he shot the film in an empty railway station with a bare bones budget. Despite this, the film never looks cheap or shoddy (just those bad prints!). Proof that ideas and technique can triumph over toys and a big budget.
I love HalC's comment "that's one strike against it". Yes, I know THAT all too well. I sometimes call it "the scent of the herd" affect, where it's sheer popularity makes me recall lemmings going off of cliff ledges because of marketeers' hype.
I don't always appreciate Film As Art work, but in THE TRIAL, the photogs are obviously trying to accomplish certain goals (dream like, nightmare sequences) and I don't think I could list another film that does it so well, or on such an engrossing level. Bravo for that.
I've always been a bit chagrined to watch Anthony Perkins. "Poor lad - poor crazed soul" always seems to come to mind. He ends up playing a lot of psycho-types in his career, even without Norman Bates! It's like he couldn't escape that ONE role.
Which would always bring me back to childhood idol George Reeves. I really enjoyed HOLLYWOODLAND because, for once, maybe we're shown an alternative to the Norman Bates Cycle that George could have contemplated.
I don't always appreciate Film As Art work, but in THE TRIAL, the photogs are obviously trying to accomplish certain goals (dream like, nightmare sequences) and I don't think I could list another film that does it so well, or on such an engrossing level. Bravo for that.
I've always been a bit chagrined to watch Anthony Perkins. "Poor lad - poor crazed soul" always seems to come to mind. He ends up playing a lot of psycho-types in his career, even without Norman Bates! It's like he couldn't escape that ONE role.
Which would always bring me back to childhood idol George Reeves. I really enjoyed HOLLYWOODLAND because, for once, maybe we're shown an alternative to the Norman Bates Cycle that George could have contemplated.