To be in chains is sometimes safer than to be free.

Cum nu am citit Procesul lui Franz Kafka, nu am stiut la ce sa ma astept de la ecranizarea lui Orson Welles. Parerile, preponderent elogioase, si un rating de 7.7 pe IMDB m-au determinat sa ii dau o sansa, desi sunt reticenta cand vine vorba de filme mai vechi – din 1962, in cazul de fata.

Dupa vizionarea de joi, de La Un Ceai, am ajuns la concluzia ca Procesul nu este un film pe care sa il urmaresti dupa o zi grea de munca. Chiar cred ca trebuie sa il mai vad o data (cel putin) pentru a-i patrunde esenta care simt ca mi-a scapat la prima vizionare. Si, eventual, sa citesc si cartea intre timp.

Josef K (interpretat de Anthony Perkins) se trezeste intr-o dimineata cu cativa politisti in camera. Fara sa i se destainuie motivul pentru care este acuzat, dar anuntat ca i s-a intentat proces, K se afunda intr-un adevarat cosmar, incercand sa isi dovedeasca nevinovatia si sa treaca dincolo de fatada sistemului judiciar.

Orson Welles, care este nu doar regizor, ci si actor in aceasta pelicula (avocatul Hastler), surprinde foarte bine atmosfera apasatoare, absurda – am avut impresia, nu de putine ori, ca am de-a face cu un film horror. Scena din “atelierul” pictorului Titorelli, cu ochii iscoditori ai fetitelor este una greu de uitat. La fel si scena finala, si mai ales hohotele resemnate ale protagonistului.

Tot Welles este si naratorul, iar povestirea sa de la inceputul (si sfarsitul) filmului, ilustreaza cel mai bine ideea de baza din Procesul: “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 more powerful than the last. By the guard’s permission, the man sits by the side of the door, and there he waits. For years, he waits. Everything he has, he gives away in the hope of bribing the guard, who never fails to say to him “I take what you give me only so that you will not feel that you left something undone.” Keeping his watch during the long years, the man has come to know even the fleas on the guard’s fur collar. Growing childish in old age, he begs the fleas to persuade the guard to change his mind and allow him to enter. His sight has dimmed, but in the darkness he perceives a radiance streaming immortally from the door of the law. And now, before he dies, all he’s experienced condenses into one question, a question he’s never asked. He beckons the guard. Says the guard, “You are insatiable! What is it now?” Says the man, “Every man strives to attain the law. How is it then that in all these years, no one else has ever come here, seeking admittance?” His hearing has failed, so the guard yells into his ear. “Nobody else but you could ever have obtained admittance. No one else could enter this door! This door was intended only for you! And now, I’m going to close it.” This tale is told during the story called “The Trial”. It’s been said that the logic of this story is the logic of a dream… a nightmare.”

Dincolo de tehnica cinematografica (sa nu uitam ca avem de-a face cu un film din 1962) si de coloana sonora foarte inspirata – o sa recunoasteti cu siguranta Adagio-ul lui Tomaso Albinoni – Procesul nu a reusit sa ma captiveze. Poate ca de aceasta sarcina se va achita cu brio cartea. Caz in care, ii voi mai da o sansa filmului.

P.S.: Mai greu cu trailerele pe vreme aceea, dar am gasit totusi ceva pe YouTube, in cazul in care vreti sa va faceti o idee despre film.

Ne vedem joi!

#club de carte #kafka #orson welles #procesul