The Children are Watching
Amazing images from Welles’s THE TRIAL. I was in the mood for some Welles, in preparation for a lecture, but I’ve seen all the major ones quite a lot. However, Fiona announced that she had never seen all of THE TRIAL, so that gave me the chance to see it anew, through her eyes.
The Canal + DVD is pin-sharp. “You can see Romy Schneider’s little blonde moustache hairs!” exclaimed Fiona. Sharpness is conducive to the film’s dreamlike atmosphere. My friend Colin Cowie, while not really liking the film, did admit it had the best evocation of dream logic, narrative, feeling. “In real life, you can sort of walk around things and say, I see now — it’s not like that at all. But in dreams, everything is –” and he shoved his face right into mine to illustrate the dream-perception problem.
Just going through one scene to grab these shots was instructive. Welles breaks up the longer, wider, sweaty master-shots of Anthony Perkins as K and William Chappel as Tintorelli (voiced by Welles) with tiny snippets of little-girl-staring-through-slats closeups. The very brief shots seem to be incredibly numerous — you can tell Welles is occasionally repeating them, but only when I went through the scene to grab images could I see that practically every image is used multiple times, interspersed so that you can’t quite tell. Welles’ experience in magic and his ability to turn economics into artistry and his unwillingness to leave a scene the way it was shot — always STRETCH THE FOOTAGE! — all this is in play here.