Franz Kafka on Film

The movies were a regular pursuit for the writer Franz Kafka and his friends. Kafka died before the advent of sound, but lived long enough to see the best of the Silent Era. Willy Haas recounted (1) in the magazine he edited ‘The Literary World’ how he saw Kafka crying at footage of Berlin, his dream city; the place he longed to escape to. Kafka understood the power of the image, how it can haunt the viewer; the loss that can be involved in capturing in a place, or a person on film forever. “Dearest pictures are beautiful, pictures are something we can’t do without, but they are a torture too,’ (2) Kafka writes in his unfinished novel ‘Amerika.’

Kafka’s stories are cinematic; the images Kafka creates in the mind stay with you. Though the word Kafkaesque is often used to describe unyeilding beauracracy, and the powerlessness of the individual against the state Kafka’s stories deal mostly with maladjusted, fragile men, who seem to bring misfortune upon themselves despite their attempts to fit into the world around them. Kafka is also a great comic writer, his work can be tragic, but it is never without humour. A number of films have been adapted from his work, while others have used the author’s own life as inspiration.

The Trial (Orson Welles 1962)

As well as adapting ‘The Trial,’ Welles manages to find room for Kafka’s short story ‘At the Door of the Law.’ Welles opens the film by narrating this allegory about a man trying to gain access to the law, but being made to wait for a lifetime without ever knowing why. This addition suits The Trial perfectly. Josef K (Anthony Perkins) finds himself accused of an unnamed crime and tries to seek justice. Welles thought Josef K was guilty for being complicit in an unjust regime, but makes his Josef K more resistant to his fate than Kafka’s. Welles understands Kafka’s vein of black comedy though and brings a Noirish feel to The Trial.

The Insurance Man (Richard Eyre 1986)

One of two plays written by Alan Bennet about Kafka, the other being ‘Kafka’s Dick.’ Franz (Robert Hines), a young factory worker tries to ascertain whether he is entitled to compensation after blue patches appear on his skin. As he is sent from one part of a large building to another, he encounters various other claimants, in his search for the elusive Doctor Kafka (Daniel Day-Lewis). Darkly funny, with a brief world-weary show-stealing turn from Geoffrey Palmer, “people will be wanting compensation for being born next,” The Insurance Man is arguably the best Kafka film to date.

Kafka (Steven Soderbergh 1991)

Palme D’Or winner Steven Soderbergh crashed and burned with his second movie. Torn apart by US critics it eventually appeared on video in 1994. Jeremy Irons makes for a charming, diffident Kafka. Though Soderbergh and his screenwriter Lem Dobbs present a version of what author James Hawes (4) refers to as the ‘Kafka myth,’ it entertainingly combines Kafka’s life with elements of his own fiction. 

Franz Kafka’s It’s a Wonderful Life (Peter Capaldi 1993)

Inspired by Capaldi’s wife mistakenly referring to the Frank Capra classic It’s a Wonderful Life (1946) as Franz Kafka’s It’s a Wonderful Life, this Oscar-winning short sees Kafka (Richard E Grant) afflicted with writer’s block on Christmas Eve. Kafka struggles to find a theme for his short story ‘Metamorphosis’ but his work is continually interrupted by Christmas well-wishers. Cleverly riffing on Capra’s movie and Kafka’s writing the production design by John Beard is beautiful and lends a Brother’s Grimm element to the film.

The Castle (Michael Haneke 1997)

Austrian doom-meister Michael Haneke made this version of Kafka’s unfinished novel for television. The late Ulrich Muhe is the landscape surveyor forever waiting for an invite to the castle. As gloomy as you would expect from Haneke it is also quite funny, and one of the director’s best films. Characteristically spare and focusing on beauracracy and the misuse of authority, key themes in both Haneke and Kafka’s work.

Metamorphosis (Valeri Fokin 2002)

Though Kafka’s work is almost synonymous with the absurd bureaucracy of the Communist regime, he is not well known in Russia. No surprises there, as the Communists banned his work. Russian director Valeri Fokin puts together a fine production of ‘Metamorphosis’ yet it has one glaring flaw. Neil Jordan once wrote (5) about the difficulty of adapting ‘Metamorphosis.’ How do you show the protagonist Gregor Samsa was once human? Fokin tries to solve this by having the actor Yevgeni Mironov pretend to be an insect, but this does not work. Gregor must become something other, a physical transformation needs to take place for the story to work properly.

1. Haas, Willy ‘The Literary World’
2. Kafka, Franz ‘Amerika’
3. Interview with Huw Weldon, BBC 1962
4. Hawes, James ‘Excavating Kafka,’ Quercus, 2008
5. Jordan, Neil ‘The Crying Game – An Original Screenplay,” Vintage Random House 1993, pvii,

They Drive

Ryan O’Neal as ‘The Driver’ in Walter Hill’s movie The Driver (1978)

Clive Owen as ‘The Driver’ in The Hire: Follow (2001, Wong Kar-Wai)

Dwayne Johnson as ‘Driver’ in the underrated Faster (2010 George Tillman Jr)

Ryan Gosling as ‘Driver’ in Nicolas Winding Refn’s Drive (2011).

Mel Gibson as ‘The Driver’ in the forthcoming Get the Gringo (2012, Adrian Grunberg). 

Midnight in Paris (2011, Woody Allen) – Programme Notes

‘Things are sweetest when they’re lost’
F. Scott Fitzgerald, The Beautiful and the Damned

Midnight in Paris is Woody Allen’s most financially successful film to date and picked up an Oscar for Best Screenplay last Sunday. Not bad for a director who was considered a busted flush in the United States and had to seek out funding in Europe. Allen has made four films in London and one in Spain since 2005, but his writing style felt incongruous outside of his regular New York surroundings. Paris has been in so many movies the city comes with its own set of clichés giving a writer of Allen’s abilities plenty of material to play around with. Allen pays homage to the City of Light in a beautiful extended opening sequence and this confidence extends to the rest of the film which is funny and charming and handled with a lightness of touch not seen in his work since The Purple Rose of Cairo (1985). 
Like the earlier film Midnight in Paris has an element of the fantastical. Gil (Owen Wilson) feels alienated from his fellow American travellers. His fiancée Inez (Rachel McAdams) and her rich right-wing parents have little interest in the city beyond its material comforts. Worse still is Paul (Michael Sheen) an academic in town to deliver a speech at the Sorbonne, whose interest in culture has more to do with showing what impeccable taste he has than enjoying it. Gil wanders away from them one night and gets lost. 
As the clock strikes midnight he accepts a lift from a group of revellers dressed in an antiquated car and finds himself amongst another group of expatriates, the ‘Lost Generation’ of writers and artists who flocked to Paris in the 1920’s. F. Scott Fitzgerald (Tom Hiddleston) and his wife Zelda (Alison Pill) are taking their first steps towards drink-fuelled oblivion, Cole Porter (Yves Heck) provides the musical accompaniment, while Ernest Hemingway (Corey Stoll) muses on what it means to be a man; “have you ever shot a charging lion?” Salvador Dali (Adrien Brody) is as you would expect a bit strange. 
It’s all terrific fun and the film’s message; live for the moment, don’t get distracted by thinking things were better once upon a time, suggest Allen has no interest in recapturing his own glory days but would rather move forward and try to create something new.