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Science / Space Race

[June 28, 1967] Around the World in Two Seconds (Our World Global Satellite Broadcast)

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by Kaye Dee

I love how our world is drawing closer every day to some of the amazing futures that science fiction has spread before us. I’ve written before about the importance of satellite communications in connecting this divided planet. Just two days ago, 24 countries around the globe were linked together in the first world-spanning live satellite broadcast, titled – appropriately enough – Our World.

Our World's visual symbol incorporates a modernised version of da Vinci's "Vitruvian Man", with arms encircling the globe, and vertical and horizontal lines representing longitude and latitude

Down Under Comes Up Live – from a town with no television!
For us in Australia, being instantaneously connected to the rest of the world through phone and television is a major step in breaking the “tyranny of distance” that has shaped our national history. Our first Satellite Earth Station was opened just last October in Carnarvon, a remote township in Western Australia, whose only other connection to the rest of the world is a phone line. It’s no wonder NASA wanted to provide a satellite connection back to the United States for its tracking station located there, using the INTELSAT communications network. Just after the station opened, a mishap with the launch of the first INTELSAT II satellite (Blue Bird) on 26 October placed the satellite into the wrong orbit, providing an opportunity for the first satellite broadcast from Down Under.


SES Carnarvon's unusual antenna, one of only four that have been built for the INTELSAT network. Officially described a 42-foot aperture cassegrain-fed folded-horn antenna, you can see why it's nicknamed the “sugar scoop”

According to my friend at the Australian Broadcasting Commission (ABC), some hasty calculations revealed that short segments of television broadcast could be relayed to the United Kingdom via INTELSAT II in its unplanned elliptical orbit. So the ABC and the BBC quickly put together a plan for a live telecast, called Down Under Comes Up Live, from Carnarvon – a town which doesn’t even have a television service!

Connection was the theme, and ordinary people were the stars of the show. The program reunited three families of British immigrants living in Carnarvon, two of whom who happened to be employees of the NASA tracking station, with their relatives in the BBC studios in London. It also included some interviews with local residents talking abut life in their remote community. Introducing new babies to family is a universal ritual, and it's delightful to see that it was one that played out in both Down Under Comes Up Live and Our World.

Down Under Comes Up Live was a direct one-way broadcast (a return signal was not possible for technical reasons) that was a complex undertaking (and a good rehearsal for our involvement in Our World). Without a local television station in Carnarvon, ABC outside broadcast vans and their technical staff made a 560 mile trip from Perth to produce the program. The vision was sent live to London from the satellite station, but the audio to and from London was transmitted separately by cable.

On Friday 25 November 1966, more than twelve minutes of television was broadcast to London. Although the program was seen live in the UK, rather ironically, we couldn’t see it live in Australia because there are no television links between Carnarvon and Perth. We had to wait for a few days to see this history-making program, once a film copy of the UK broadcast was flown back to Australia.

Incoming – Australia Day at Expo 67
Apart from a few test transmissions, it was just three weeks ago that we saw the first satellite broadcast into Australia – a live telecast of Australia’s ‘special day’ at Expo 67 in Montreal. This time the transmission came via NASA’s Applications Technology Satellite (ATS)-1. To support this program, NASA has established a temporary satellite station at Cooby Creek dam, about 14 miles north of Toowoomba in Queensland.

The picturesque setting for NASA's Cooby Creek tracking station that brought both Australia Day at Expo 67 and Our World to Australia via ATS-1

Several hundred thousand people around the country, including my sister’s family and I, watched live through the early hours of 7 June our time, as Australia took centre stage in Canada. The program commenced with Prime Minister Harold Holt officially opening the Australian Pavilion at the Expo. Special events for “Australia Day” included boomerang throwing, sheep-dog trials, wood chopping contests and tennis matches with members of the Australian Davis Cup team. Celebrity was an important theme for the variety concert, "Pop Goes Australia", which showcased Australian talent, including the internationally-known Rolf Harris and The Seekers.

The clarity of the satellite picture from Montreal was surprisingly good: I’ve heard that hundreds of viewers rang the ABC in Sydney wanting to be assured that the vision really was being broadcast live from Canada! I just wish I could find some decent reproductions to show you or had thought to take a picture on the screen of our TV set. 

Our World – joining hands (almost) around the planet
So, with just two satellite broadcasts under its belt, from 4.50am Australian Eastern Time on 26 June, Australia participated in the Our World program, helping to string Puck's "girdle around the world". We joined 13 other nations in providing television content for the first live global television broadcast, which instantaneously linked 24 countries on six continents via four communications satellites, with the signals travelling around the world in just 2 seconds!

The brainchild of the BBC, though produced under the auspices of the European Broadcasting Union, the global telecast was controlled from the BBC in London, with America’s National Educational Television in New York City feeding items from the United States, Canada, Mexico, Australia and Japan to the British Control Centre. Literally thousands of technicians handled the outside broadcasts and studio operations around the world. Satellite ground stations in Australia (NASA's Cooby Creek facility again), Japan, Canada, the United States, Britain and France transmitted sound and vision to and from the satellites. As each of the contributing countries provided commentary in their own language, there was also the necessity of rapidly translating the various languages, so that everyone in the receiving countries could understand what was being said.

The technical complexity of Our World is evident from this diagram, which shows just part of the world-wide links between television stations and satellites necessary to make the global broadcast a reality

Given the incredible technical complexity of the television transmission, it’s quite amazing that the two-hour program was carried through with very few technical problems – especially when the entire broadcast was televised live, with no filmed insertions or other previously produced material apart from the opening montage. We saw everything as it happened.

Our World was intended as a major achievement for both space technology and international relations, a bridge between East and West in these troubled times of wars cold and hot. Unfortunately, at the last minute, politics reared its ugly head and the USSR and several Eastern European nations that were originally going to participate pulled out of the broadcast just a few days before, as a protest against the recent war in the Middle East. This was disappointing and made for some hurried re-arrangement of parts of the program, but it didn’t dampen the mostly aspirational tone of the broadcast as a celebration of human achievement and hope for a more peaceful future. There was also the irony that a US segment about the Glassboro, New Jersey conference between American president Lyndon Johnson and Soviet premier Alexei Kosygin was still included in the broadcast, although – since the Our World producers insisted that no politicians could be shown – only an external view of the house where the conference was being held was televised.

New Babies and their World
The broadcast crossed countries, seas and time zones, and was presented as fusing “yesterday”, “today” and “tomorrow” (by dint of the different time zones around the world) into a globe-encircling “now”. The birth of several babies across the world opened the program, which was presented in a sense as a “survey” of the world into which these newborns are entering.

A baby in Mexico, born live on television for all the world to see!

The babies are introduced to their new world through several themes: This Moment's World (what people were doing are doing at that moment around the world); the Hungry World (what scientists are doing to attempt to solve or alleviate the hunger problem); the Crowded World (looking at proposed solutions to the population explosion); Aspiration to Physical Excellence (the continual attempt to develop physical skill); Aspiration to Artistic Excellence (the drive to excel in the arts); and the World Beyond (focussed on astronomy and space travel. Within these themes, vignettes of life and activity from around the world formed the tapestry of the program. Even if some of the actual presentation was, quite frankly, dull and pedestrian (the excitement was, after all, the fact that we were seeing something live from another part of the globe), I thought the concept was an interesting way to approach telling the story of our planet. If an extra-terrestrial civilisation one day happens to intercept this program as its signals travel through space, they'll learn a lot more about the reality of the Earth and its people from Our World than they will get from episodes of I love Lucy.

Everyday Life

The theme This Moment's World presented a panorama of people and activities in various parts of the globe, moving through evening in Europe to afternoon in New York City, with a visit to Tunis along the way. I loved the views of old and new parts of the city. We saw Marshall McLuhan being interviewed in a Toronto television control room, people swimming at the beach at lunchtime in Vancouver, Canada (making us Aussies all envious on a cold winter's morning) and workmen digging a subway at 4am in Japan. Since the program took place between 5.00 am and 7.00 am Australian Eastern time, our first contribution commenced at 5:22 am local time, with a visit to the Hammer Street Tram Depot in Melbourne, where the first tram of the day was departing to service Monday morning commuters. 

This segment was the first cross to the Southern Hemisphere and came directly after the broadcast from Japan. The switch from Japan to Australia was apparently the most technically complicated of the program, as the Japanese and Australian satellite stations had to switch immediately from transmission to receiving mode and back again. The material coming into Australia also had to be converted from the 525-line system to our 625-line format for local broadcast, while the segment going out of Australia had to be converted from 625 to 525-line in order to be sent back to the US and then on to London!

Sweden gave us the first – and almost the only – female presenter in the program!

Global Concerns
Australia also featured in the Hungry World theme, which concentrated on food production and the issues of feeding an ever-growing world population. In addition to items from the United States and a shrimp farm in Takamatsu, Japan, we visited the Canberra phytotron, a laboratory run by the national scientific research agency, CSIRO. In the phytotron, plants can be grown under a wide range of closely controlled climatic conditions. It’s claimed to be one of the world's finest and most up-to-date facilities for plant research, and a number of international scientists work there alongside local researchers.

The CSIRO phytotron's Director, Dr. Lloyd Evans, at work in his plant laboratory. Apparently, he often starts his workday at 5am, so he didn't have to get up earlier than usual for the show!

A couple of segments that were of interest to me in The Crowded World theme were a visit to Cumbernauld (near my father’s home town of Glasgow, Scotland), which was the recipient of an international award for best planning in a new town, and a glimpse of Habitat, a new concept of living accommodation, on display at Expo '67.

Human Achievement
In Aspiration to Physical Excellence, there were contributions from Rome, Sweden, France (where a parachutist made a dizzying free fall with a camera strapped to him), and Winnipeg, Canada, where a 16-year-old Butterfly champion attempted to beat her own world indoor swimming record.


We get to watch live as actors rehearse the wedding scenes from Italian director Franco Zefferelli's next film, Romeo and Juliet
Aspiration to Artistic Excellence included a visit to the Maeght Foundation museum of modern art in France, with artists Marc Chagall and Joan Miro, Leonard Bernstein and pianist Van Cliburn rehearsing Rachmaninoff's Third Piano Concerto. Opera singer Maria Callas, and painter Pablo Picasso also featured. In the context of this theme, it’s interesting to note that the Our World anthem, which accompanied the opening montage was composed by Frenchman Georges Delerue, whose musical score credits includes the recent Academy Award winning motion picture, A Man for All Seasons. He wrote the melody based on the rhythm established by the words “Our World”, sung in 22 different languages by the Vienna Boys’ Choir.

But the highlight of this theme has to be a ‘fly on the wall’ visit to a recording studio where the fabulous Beatles were recording their latest anthem “All You Need is Love”, which was specially written for the Our World broadcast! You can see them below, surrounded by their many friends in the music world, who came to the recording party and became informal backing singers. The black and white shot shows how we saw the FAB Four in the live broadcast, while the colour photo was taken just before the televised performance. 

 
Reaching for the Stars
The World Beyond theme took us to the heart of the Space Race, with a visit to Cape Kennedy to see a Saturn V Moon rocket on the pad being readied for its first flight. The telecast also came to a close on the theme of outer space, with a visit to Australia’s Parkes radio telescope – at 210 ft. the largest fully-steerable radio telescope in the world. Here we sat in on an observation of the most distant object currently known – a mysterious quasar only discovered last year by the Parkes telescope's director, Dr. John Bolton. It’s so far away that its light and radio signals take 13,000 million years to reach us!

An ABC cameraman, wearing a heavy jacket in the early morning winter cold, prepares for filming the Our World segment at the Parkes Radio Telescope.

So that was Our World. A fascinating mix of banality and creativity, made magical by the technology of the Space Age, and the knowledge that everyone watching was sharing the experience simultaneously with millions of others across our planet in a way that has never before been possible. With a worldwide audience estimated between 350 and 700 million, the broadcast was a potent demonstration of the potential reach of satellite television. I'm sure that before too long, satellite television from around the world will be a regular occurrence, bringing us news, sport, entertainment and major world events – and we here in Australia will have to get used to being up at all hours of the night to watch! But I wonder what will top this broadcast's incredible audience reach? The first manned landing on the Moon, perhaps?



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Science Fiction/Fantasy, TV

[April 26, 1965] A Stranger in a Strange Land (The Stranger, Australian TV SF)

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by Kaye Dee

I wasn’t contributing to the Journey last year, when Australia’s first home-grown science fiction television show, the children's series The Stranger, premiered in April 1964. So before the second series screens later this year, I thought I would take the opportunity to talk about this milestone in Australian television.


The screen title for The Stranger, with its unique, otherworldly script

Introducing G.K. Saunders

The Australian Broadcasting Commission (ABC) is the first local producer to show an interest in making science fiction for television, adapting The Stranger from a radio serial by prolific radio and television script writer Mr. G. K. "Ken" Saunders. A British-born New Zealander who moved to Australia in 1939, Mr. Saunders began writing scripts for ABC radio children’s programmes as well as radio dramas for one of the commercial networks.

During the War, Mr. Saunders also worked for the Council for Scientific and Industrial Research (CSIR). His exposure to scientific research seems to have sparked an interest in science fiction, because when he returned to writing scripts for ABC radio children’s programming, he produced about a dozen serials with science fiction themes. Mr. Saunders has said that he bases his science fiction on real science, and he consulted scientists from the Commonwealth Scientific and Industrial Research Organisation (CSIRO, the successor to the CSIR) to ensure this. But his stories also have a bit of a twist to them, and both these traits can be seen in The Stranger.


Recording an episode of the Argonauts Club, a popular children's radio programme that has been on air since 1941. Ken Saunders is best known as one of its main script writers since it began

Some of the science fiction serials Mr. Saunders wrote still stick in my mind. His first, The Moon Flower, was broadcast in 1953. It tells the story of the first expedition to the Moon, which discovers a tiny flower in a deep cave. This might seem a bit silly today, with what we now know about the Moon from Ranger 9 and other lunar probes, but back then some scientists still thought there might be simple life on the Moon. There was another one I really liked, in which the first expedition to Alpha Centauri discovers a planet inhabited by a human-like species who are pretty much like us – except they never invented music! I found this a fascinating idea.

The Genesis of The Stranger

Ken Saunders moved to England in 1957, working as a television and radio script writer for the BBC. This is where the story of The Stranger really begins: it was originally written as a six-part radio play for the BBC, which was broadcast in 1963, so perhaps some British readers of this article might even have heard it. From what my friend at the ABC has told me, it seems that the first series of the Australian television version is very similar to the original radio play storyline, with the six 30 minute television episodes drawn from the six parts of the radio serial.


Playing possum. A publicity still showing a scene from the opening teaser, where the stranger pretends to be unconscious at the door of Headmaster Walsh's house

Episode 1

Broadcast on 5 April 1964, the first episode of The Stranger begins with a short teaser: on a classic dark and stormy night, a figure makes its way along a dark street to the gate of a house. A signboard on the fence tells us this is the home of the Headmaster of St Michael’s School for Boys. This stranger walks to the door and lies down, carefully arranging himself to look like he has collapsed. He then taps weakly on the door and closes his eyes pretending he is unconscious. This is followed by the opening credits that are used for the rest of the series: the CSIRO’s Parkes Radio Telescope scans the skies in a timelapse sequence that then dissolves into a cosmic view of stars and nebulae against which the title The Stranger appears, written in an unusual, fantastical script. The author’s credit and episode number then appear over a slow pan of what seems to be a desolate, crater-pocked landscape. These images and the eerie, slightly foreboding theme music, set the scene for the mystery that follows and unfolds over the six episodes.

Headmaster Walsh and his family help the apparently sick stranger on their doorstep, who claims to have lost his memory but speaks with a European accent. When they discover that he speaks French and German there is speculation that perhaps he is Swiss. The rapidly recovering stranger declares that because he cannot recall his own name, he will give himself another: Adam, since he is a ‘new man’, and Suisse, since he is possibly Swiss.


What's in a name? The amnesiac stranger, who has christened himself Adam Suisse, with his hidden radio that sparks the suspicions of our three teenage heroes

Events then move quickly: Adam becomes a language teacher at St. Michael’s and takes up residence in a disused building on the school grounds. There, at the end of Episode 1, the teenage Walsh children, Bernie and Jean, and their friend Peter, accidentally discover a strange radio-like device, hidden under a loose floorboard. Turning it on, they hear speech in a foreign language.

Episode 2

The teenagers suspect that Adam is a spy. Although he attempts to allay their suspicions, Peter is not convinced, and they follow Adam on one of his weekend bushwalks in the Blue Mountains. Adam has spoken passionately about his love for walking in the bushland and being close to nature but disparages reports about flying saucers seen in the area where he likes to hike. Bernie, Jean and Peter try to track Adam through the bush and at the end of the episode come face to face with a hidden flying saucer!


Not what you expect to find on a bushwalk! The "flying saucer" piloted by Adam's friend Varossa, hidden away in the Blue Mountains

Episode 3

Adam takes the three teenagers onboard the flying saucer, revealing that he represents about 300 survivors living inside a colony ship created from a small planetary moon. Known as Soshuniss, the moon-ship has been travelling for generations since the planet from which its people originally came was poisoned and made unlivable by some kind of “accident”. The Soshunites seek a new home and have been reconnoitring the Earth. They would like to live here, but have no intention of invading, as they are a peaceful people. Back on Earth, the teenagers’ disappearance is treated by the police as an elaborate hoax, abetted by the missing Adam. When Adam and the teenagers arrive on Soshuniss, they are taken to an audience with the Soshun, the leader of the Soshunites.


Fly me to the moon! Adam reveals the truth about himself to Jean, Peter and Bernie, on board the spaceship travelling to the moon-ship Soshuniss

Episode 4

The surprised teenagers discover that the Soshun is a pleasant elderly woman. She asks them to deliver a letter to the Australian Prime Minister requesting permission for the Soshunites to settle in part of Australia. In return the Soshunites will share their scientific knowledge with the world. On returning to Earth with Adam and his friend Varossa, the young people’s story is disbelieved by their parents and the police. The Soshunites are arrested as kidnappers and spies, while visiting American scientist Prof. Mayer persuades the teenagers to prove their story by taking him secretly to the hidden spaceship they returned on. Although he is convinced of the truth of the story when he sees the spaceship, the police have been following them and Bernie attempts to take off with the others in the flying saucer to return it to the Soshunites.


Take me to your leader! Peter, Bernie, Prof. Mayer and Jean meet the Soshun, who can be seen in the background of this shot

Episode 5

Bernie is unable to properly control the spacecraft and the friends are rescued by another ship and taken to Soshuniss. The police who saw the flying saucer lift off contact the authorities and the spacecraft is tracked by radar and then the Parkes Radio Telescope to the moon-ship 50,000 miles into space. There is now no question that the aliens are real and the case becomes a Security matter. Although the Soshun sends Bernie, Jean and Peter back to Earth, Prof. Mayer stays on Soshuniss to learn more about it. Meanwhile, at the end of the episode, Adam and Varossa have escaped from prison and await rescue from Soshuniss.

Episode 6

In the final episode, matters come to a head. Bernie, Jean and Peter are pressured by the authorities to reveal where the Soshunites are hiding, as they are now considered alien spies. However, the Soshun has returned Prof. Mayer to the United Nations in New York, repeating her request to be allowed to settle in Australia in exchange for Soshunian scientific knowledge. He convinces a UN Special Committee and just as Adam and Varossa are about to be re-arrested by the police, word comes through that the UN has accepted the Soshunites' offer and they will be allowed to settle on Earth. The episode concludes on what is both a happy ending and a cliffhanger suggesting there is still more of the story to come….


TV Times preview article from April 1964 promoting the premiere of The Stranger

Australia's Answer to Doctor Who?

Although The Stranger is classed as a children’s programme, it has much to hold the attention of an adult viewer, just like Doctor Who, to which it is now being compared. However, producer Storry Walton dislikes the comparison and believes that the Australian show is more creative and has better production values, with more sequences filmed on location. Locations for the series included St Paul's University College in Sydney (in the role of St Michael’s school), the Blue Mountains, exteriors at the ABC headquarters campus (masquerading as various locations, including Idlewild Airport!) and Canberra.


On the set during the production of The Stranger while filming a scene on Soshuniss. Adam tells the trio from Earth that the Soshunites originally wore their hair long, but have cut it to fit in more comfortably on Earth.

Both Mr. Saunders and the Production Designer, Mr. Geoffrey Wedlock paid particular attention to portraying the Soshunians as a plausible, but alien, extraterrestrial society. Mr. Saunders created a language for the inhabitants of Soshuniss to speak among themselves, and it is believably and naturalistically spoken by the actors. When they speak English, all the Soshunians have a European-sounding accent, signifying that they are not speaking their native language. One of Saunders’ characteristic twists is that the Soshun is a woman, rather than a man as might be expected, and that her title is also the word for “mother”: Soshuniss therefore means “the motherland”. The CSIRO was also engaged to advise on the design of the Soshunian “flying saucer”, to make it as plausible a spacecraft as possible.

Underneath its well-crafted juvenile surface story, The Stranger also touches on some important issues including the treatment of refugees and European migrants to Australia and the concerns that many people are starting to have about industrial pollution damaging the environment. Although the “accident” that poisoned the Soshunian’s home planet is not specified, there are hints that its environment may have been destroyed by some kind terrible industrial accident that released toxic chemicals.


Veteran actor Ron Haddrick, well known to Australian viewers, gives adult nuance to his performance as Adam Suisse, the titular Stranger

The cast of The Stranger, while mostly actors well known in Australia, would not be familiar to those of you overseas, but I must mention the distinguished theatrical performer Ron Haddrick, who played the part of Adam Suisse without the least condescension to the younger viewers at whom the show is aimed, much like William Hartnell approaches his role on Doctor Who.

Coming Soon

The second series of The Stranger is due to start in July this year and hints of the new storyline are beginning to emerge. Storry Walton mentioned in a recent interview that the second series would complicate the political situation surrounding the Soshunians request to live in Australia, with a suggestion that doubts would begin to grow about the good intentions of the aliens. I’m quite looking forward to this new series and perhaps those of you in Britain and the US may get to see it too, as the BBC has already bought the first series for screening next year and there are rumours that it may be bought by a US network as well.




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Book

[January 5, 1963] The Trial on Trial

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by Victoria Lucas

Have you been following the talk about Orson Welles’s latest movie, one he personally wrote and edited?  While not precisely science fiction, it does overlap thematically, enough so that I'm certain you'll enjoy a summary.

I was fortunate enough to catch the interview with him by Huw Wheldon on the BBC, or “The Beeb” as people across the Pond say.  First off, Welles talks about changes he made from the novel by Franz Kafka.  He says the main character (Josef K.) “doesn’t really deteriorate, certainly doesn’t surrender at the end” like the character in the novel.  That’s true, more or less, but listen carefully to Anthony Perkins playing K. at the very end and ask yourself why he doesn’t throw what he is reaching for.

I know, I know, what am I doing writing a review for a movie that hasn’t been released in the States yet.  Well, it was released in Paris, and quite a lot of people had something to do with the production and showing.  I hate to tell you this, but a copy somehow found its way into the hands of a friend of mine.  I can’t tell you any names, and I know no more than the name of my friend.  The copy is a bit, all right, under par, not like seeing it in a movie house, but it’s exciting to see the film many months before I possibly could have otherwise.  The earliest premiere in the US is in NYC, and I stand a snowball’s chance in hell of making that or any showing not in Tucson or Phoenix.  I would prefer to watch a non-bootleg copy and probably will sooner or later, but beggars can’t be choosers.

When the beginning title hits the screen, the recently discovered (1958) and orchestrated “Adagio in G Minor” by Tomas Albinoni begins a beat of what I can’t help but think of as a dirge before we see the opening parable, done in something called “pinscreen” graphics.  The title, by the way, is most remarkable for the fact that there is no trial in “The Trial.”

Of course we must keep in mind that a German word for "trial," the title of the film and the Franz Kafka book that “inspired” it (according to Welles), is Der Prozess.  Also spelled "Process," this word in German means "process, trial, litigation, lawsuit, court case."  There are other words for "judgment, tribunal, trial": "das Gericht," which at least has the word "right" in it; and "die Verhandlung," meaning "negotiation, hearing, trial." 

It turns out there are numerous words that might apply to what we in the US would call a "trial" by judge and/or jury or any litigation: there are also "die Gerichtsverhandlung," "die Instanz" (which also means "authority, court."  Why did Kafka choose "der Prozess," and why are some of the words feminine rather than masculine (like Prozess) or even neutral?  These are fine points of German as a language that I cannot reach from my one college semester of German.  It just appears to me that German has as many words for legal proceedings as the Eskimos are said to have for snow.  However, in this case the word "process" in English is fitting, because we never see a trial, only one hearing, during which the protagonist, Josef K. (with only an initial and not a full name, as if the author was protecting a real person) speaks and brands himself as a troublemaker.  (All legal proceedings in this alternate system of law are supposed to be secret.)

What we see in this film is a process indeed, a destructive process during which an innocent is exposed to corruption and chaos he never dreamed existed.  The book makes it much clearer that the system that crushes Josef K. is not related to the uniformed police and visible court system.  In fact, near the end, as K. is being frog-marched to a place of execution, he aids his captors in avoiding a policeman to whom he might have complained to prevent what was, after all, an abduction.  This network is underground, with courtrooms and file rooms in attics throughout the unnamed city.  Those enmeshed in it are “The Accused” as well as (illegal) Advocates and various officers and employees of the “court,” not to mention families who move their furniture and abandon their flats so that hearings can occur.  One character remarks (in both the book and film), “There are court offices in almost every attic” and “Everything belongs to the court.”

Welles changes this secrecy and underground nature to connect “the law” to the visible law courts by having K. exit a massive public building (actually in Rome or Zagreb), having entered it through a tenement at the back, in line with his view that “this is now 1962, and we’ve made the film in 1962.” During this century the classism and racism that were beneath public consciousness but engraved in the law, as well as officially tolerated or encouraged vigilantism, came into the open in a big way, like the difference between law practice in a makeshift courtroom and that in Grecian-style marble halls supported by uniformed officers of court and police. 

The author of the original book, Das Process was killed by an early 20th-century epidemic we now call tuberculosis, dying at age 40 in Austria.  (I am tempted to say, “died like a dog,” as K. characterizes his own murder or, in the logic of the book, execution.) Born Jewish in the kingdom of Bohemia, Kafka was a lawyer who worked for insurance companies.  This book would have been destroyed had his executor followed his instructions, but instead the order of the written chapters (mostly finished, apparently—I saw only one chapter labeled “unfinished”) were determined by his editor/executor and the book was originally published in 1925, a year after Kafka’s death.  Welles mentioned the Holocaust in the BBC interview as his reason for changing the ending, choosing “the only possible solution” (rather than the “Final” one) to negate the choices made “by a Jewish intellectual before the advent of Hitler.” So I feel justified in seeing much that relates to racism, not to mention sexism and classism.  Kafka was reportedly a socialist with some tendencies toward anarchism. 

According to Welles, the movie was filmed partly in Zabreb, Yugoslavia (exteriors), with most interiors in Paris (the Gare d’Orsay and a Paris studio), and some exteriors in Rome.  Welles would have filmed in Czechoslovakia, but Kafka’s work is banned there.  The last scene was shot in Yugoslavia, and so were the scenes with 1,500 desks, typewriters, and workers in a huge room for which they could locate no place but the Zabreb “industrial fair grounds” (scenes at K’s workplace, which do not correspond with the descriptions in the book). 

The partly abandoned Gare d’Orsay, in contrast to the other locations, was a huge seminal find for Welles, one that appeared to him at the end of a long day in which he learned that sets in Zagreb could not be finished in time to make his schedule or possibly even the film, if he could not find another location quickly.  Originally the Palais d’Orsay, subsequently a railroad station with platforms that became too short for long-distance use, the station was mostly abandoned, but the building included a 370-room hotel.  Welles quickly changed his plans from sets that dissolved and disappeared to one that was “full of the hopelessness of the struggle against bureaucracy” because “waiting for a paper to be filled is like waiting for a train.”

The gossip is that producer Andrew Salkind agreed to underwrite Welles’s project only if he could find a book to base it on that was in the public domain.  They both thought this work by Kafka was such a book, but discovered that they were wrong and had to pay for the use of the story, reducing the budget for the film.  Several people are credited with the writing, with Welles himself reading the titles at the end, but he says he wrote as well as directed and acted in it.  Rumor also says he wanted Jackie Gleason (yes, “Honeymooners”) to play the role he played, that of a lawyer Kafka named Dr. Huld (German for “grace” or “favor”) but that Welles christened “Hastler” (hassler? what the lawyer should do to the courts but not to the clients?).

There are some problems with Welles’s editing, the main one in my view concerning a scene with a wall of computers at the bank where K. is a middle-rank executive.  As it is, the scene is quite pointless and appears to exist only to show how up-to-date the film is compared to the 1925 novel.  However, it was originally a 10-minute scene in which Katina Paxinou (a face on the cutting-room floor) uses the computers to foretell K’s future (wrongly…OK, mostly wrongly).  It was “cut on the eve of the Paris premiere,” according to my notes on the BBC interview—in other words done in haste and, as in the proverb, made waste, but Welles clearly felt there was something wrong with the scene and saved us from most of it. 

Nevertheless, on the whole Welles felt good about “The Trial.” In the BBC interview he summed it thusly, “So say what you like, but ‘The Trial’ is the best film I have ever made.” I’m not sure I agree, but it’s definitely worth watching, even taking the time to compare it with the book.  (But beware of any resulting depression.)

[P.S. If you registered for WorldCon this year, please consider nominating Galactic Journey for the "Best Fanzine" Hugo.  Check your mail for instructions…]




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