complete account of K

.ria. sessility. Mary Nolan.


I’d held off watching Orson Welles’ version of The Trial for a time, having a vague recollection that Milan Kundera spoke ill of it — for being unfaithful to the idea of the original– in his Testaments Betrayed.

I now wish I had Testaments Betrayed on hand still, because I recently watched the Welles version and it seemed to me quite a good attempt at retelling the story and not glaringly unfaithful to the spirit of the book.

In any event, one idea that occurred to me while watching the Welles movie was that the most faithful movie version of a Kafka novel might be an attempt at a montage or conglomeration of the three of them, with some of the short stories included. (Maybe Fellini’s “director’s notes” would be a model to follow). Not an attempt to tell any of their plots, mind you, but an attempt to give an overall account, a complete account, of the identity or character of K. A movie of the distilled Complete Works of Kafka (for example, opening like the Castle then closing like the Metamorphosis or Hunger Artist then having some Trial and Penal Colony and Diary and Castle in between, with appearances from the Oklahoma Theater troupe.) (Maybe –no, on second thought this would entirely spoil the conceit– it would be put on by the Oklahoma Theater troupe.)


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