Kafka Page #4

Synopsis: Kafka is a 1991 mystery thriller film directed by Steven Soderbergh. Ostensibly a biopic, based on the life of Franz Kafka, the film blurs the lines between fact and Kafka's fiction (most notably The Castle and The Trial), creating a Kafkaesque atmosphere. It was written by Lem Dobbs, and stars Jeremy Irons in the title role, with Theresa Russell, Ian Holm, Jeroen Krabbé, Joel Grey, Armin Mueller-Stahl, and Alec Guinness.
Genre: Drama, Mystery, Sci-Fi
  1 win & 1 nomination.
 
IMDB:
6.9
Metacritic:
46
PG-13
Year:
1991
98 min
697 Views


KAFKA:

... Just a perception.

CUT:

HALLWAY:

Kafka comes out of a door that closes behind him. He stands

and waits. At a high desk a POLICEMAN is reading a

newspaper. Without even looking up from it he extends his

arm and pushes Kafka slightly to one side so he's no longer

blocking the light.

Two other MEN are here waiting, sitting on a bench, sharing a

private joke. Kafka glances down at himself, wondering if

his appearance could in any way inspire ridicule.

The door opens again and the Inspector is back.

INSPECTOR:

I don't usually involve myself

with you people in the Old Quarter

-- but the River runs its own course.

It won't be the last time it

deposits its unwanted debris on my

doorstep.

Pause.

KAFKA:

Probably not.

INSPECTOR:

Anyway, I'd like you to reflect

that in me you have -- I won't say

a friend, because we're complete

fencers, of course -- from

distinctly incompatible social

classes -- but to some extent, shall

we say, an interested third party.

KAFKA:

I'll bear that in mind.

INSPECTOR:

(hands Kafka his card)

-- Should you happen upon anything

that might be relevant.

He nods curtly at Kafka, and shuts his door.

THE TROLLEY:

With Eduard's sheet-covered form on it, coming down the hall,

the SQUEAKING WHEELS of the thing loud on the wooden floor.

KAFKA:

The noise causes him to turn around. He watches the trolley

as it's pushed past.

CUT:

AN OFFICE TROLLEY - DAY

Similarly coffin-like, loaded with files.

KAFKA:

Edges out of the way to let it by, feeling as though it has

been made for him, is waiting for him.

He walks on to the Chief Clerk's office.

CHIEF CLERK'S OFFICE

Kafka comes in.

KAFKA:

You wanted to see me, sir.

CHIEF CLERK:

(indicates a chair)

Sit down, Kafka.

Kafka does. And the Chief Clerk stands up. He paces up and

down a bit, making Kafka awfully nervous before he finally

clears his throat and starts to get to the point.

CHIEF CLERK:

You've been with the firm for

nearly nine years. You've done

your work diligently, there are no

complaints on that score. But

there's more to the job than the

work -- there are other people to

consider -- and frankly, Kafka, we

eel your social situation could

bear improving.

KAFKA:

... My ... social situation?

CHIEF CLERK:

You keep too much to yourself --

you're a lone wolf. It makes me

uneasy, and if it makes me uneasy

I can't imagine the impression you

make on lesser employees.

The Chief Clerk, towering over him, also reminds Kafka of his

father. Kafka tries putting up a defense.

KAFKA:

To do my work well, I have little

time for --

CHIEF CLERK:

You must make the time. Where

do you go off to in the lunch

hour?

KAFKA:

I usually take lunch by the River.

CHIEF CLERK:

It's not healthy, Kafka -- not for

you and not for your workmates. At

the annual dinner this month you

again failed to make an appearance.

KAFKA:

I did not realize it was obligatory.

CHIEF CLERK:

Have you never wondered -- and I

mention this only in passing --

(as he paces past and

Kafka turns his head)

why other clerks have advanced to

more responsible positions while you,

who have been here longer, have not?

KAFKA:

No, sir.

CHIEF CLERK:

Attitude, Kafka. It doesn't matter

how well you do your work -- you

still see it as something to be

gotten on with rather than something

to take an active interest in.

KAFKA:

(leans forward in

rebuttal)

Well, I --

CHIEF CLERK:

(keeps pacing)

Oh, I know you got along with that

poor fellow -- what was his name?

KAFKA:

-- Eduard --

CHIEF CLERK:

-- Yes -- Raban -- but he was too

much like you -- even more so

perhaps. He wasn't here as long as

you, so I didn't know him as well --

but I could see the influence he was

having. I simply want you to be

aware of this because you'll be

happier for it.

Kafka merely nods, starts to get up.

CHIEF CLERK:

In any case -- don't ask me why --

the word has come down you're to

be promoted.

Kafka sits back down in the chair.

CHIEF CLERK:

Your colleague's death has helped

precipitate the need, though I can

tell you it's been under

consideration for some time. You're

to be given two assistants and a

commensurate rise in salary.

(sits back behind

desk)

That's all.

Kafka nods once, starts to go again.

CHIEF CLERK:

Kafka.

Kafka turns.

CHIEF CLERK:

I understand you fancy yourself an

author.

KAFKA:

(almost visibly

cringes)

In a small way.

CHIEF CLERK:

You might find a more athletic

hobby -- put some color in your

cheeks.

He returns to his paperwork. Kafka leaves.

OUTSIDE CHIEF CLERK'S OFFICE

Walking away, Kafka notices Gabriela striding along an office

corridor -- and sneaky Burgel confronting her.

GABRIELA:

She looks distressed, walking tall as if to bolster her

composure. Sneaky Burgel does not help matters by

characteristically appearing from the sidelines.

BURGEL:

Good morning --

(she ignores him)

Or should I say good afternoon?

GABRIELA:

Say what you like -- no one pays

the least attention.

BURGEL:

(walking quickly

alongside her)

Oh, don't they? I think you

underestimate my station in this

office and overrate your own.

GABRIELA:

Not today, Burgel. Send one of

your memos, write up one of your

communiques, but for God's sake

don't bother me today.

BURGEL:

It's my place to offer advice, not

yours -- and by advising the Chief

Clerk of your unpunctuality it's

certainly not my situation that's

compromised, if that's what you're

implying.

GABRIELA:

(stops to glare at

him)

You're just doing your job.

BURGEL:

It's what I'm paid to do.

GABRIELA:

You're detestable.

BURGEL:

And you're late!

Suddenly, in a terrific release of pent-up emotion, she slaps

him hard across the cheek, the first of what would be a

flurry of blows if not for the fact that the unexpected force

of it throws Burgel reeling backwards before she can deliver

any more. Instead she rushes away, very upset.

KAFKA:

As startled as the rest of the office by the incident.

Burgel recovers, straightening up in shock and

embarrassment. He immediately resolves to march directly to

the office of the Chief Clerk.

Seeing him coming, Kafka quickly starts away.

CUT:

THE ASSISTANTS - DAY

OSKAR and LUDWIG. They look almost the same. At first

glance almost identical. It's only a closer inspection that

shows them to be imperfect twins. Dressed in matching suits.

One is sitting on Kafka's new desk, the other in Kafka's new

chair. They're rummaging about in his papers, and whenever

one selects a particular document for closer scrutiny, the

other promptly snatches it out of his hand.

KAFKA:

Coming this way, has paused, having spotted the weird duo.

THE ASSISTANTS:

Continue with their mischief until one of them notices Kafka

coming and nudges the other so strongly he almost falls

over. They're both standing at attention, looking guilty, by

the time Kafka arrives.

KAFKA:

My assistants, I presume.

ASSISTANTS:

Yes -- that's us.

Kafka smiles at them, half in friendliness, half in amusement

at their quirky appearance.

KAFKA:

(offers his hand)

I'm Kafka.

Oskar responds first, but Ludwig knocks his hand out of the

way to get there first.

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Lem Dobbs

Lem Dobbs was born on December 24, 1958 in Oxford, Oxfordshire, England as Anton Lemuel Kitaj. He is a writer and producer, known for Dark City (1998), The Limey (1999) and Haywire (2011). He has been married to Dana Kraft since 1991. more…

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Submitted by aviv on January 30, 2017

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