why so depressed?

zeph’s pop culture quiz #32
Why does the man sitting on the bed within that vast space seem to be so depressed?
    Just leave a comment with your educated guess—you can ask for additional hints, too. [Leaving a comment is easy; just click the ‘Leave a comment’ at the end of the post and fill in the form. If it’s the first time you post a comment, it will be held for moderation. But I am constantly checking, and once I’ve approved a comment, your next ones won’t be held, but published immediately by the system.]

  • Bryan Alexander Monday, 11th June 2012 at 01:20

    Is it the Welles Kafka movie?

    • zephyrin_xirdal Monday, 11th June 2012 at 06:22

      Ah, Bryan, you finely spotted the æsthetics influenced by German expressionism, creating a Kafkaesque ambience. But no, sorry, it isn’t Welles’ ‘The Trial’ (1962). The movie we are looking for was made more than two decades earlier. Nevertheless there is a trial in the story, directly connected with the scene depicted. Another little hint: Expressionist scenes are never quite the way they seem :)

  • Alexander Rabitsch Monday, 11th June 2012 at 09:55

    >>Stranger on the 3rd floor<< featuring László Loewenstein / Peter Lorre as Stranger ….

    • zephyrin_xirdal Monday, 11th June 2012 at 12:41

      ‘Stranger on the Third Floor’ (Ingster 1940) it is—congratulations. Now, what is the young man in the screencap so depressed about, and where is he? ;)

  • Alexander Rabitsch Monday, 11th June 2012 at 13:06

    Mike is in jail, he´s accused of murder although he is only a witness. In the scene above he´s about meeting his lawyer.
    Lawyer: >> I´m your lawyer. I´m supposed to defend you in your trial. But I must know the truth.<>I didn´t do it.<> Hahahahaha. That´s what they all say.<<

    Bryan wasn´t too far away from Kafka ….

    • zephyrin_xirdal Tuesday, 12th June 2012 at 17:52

      Correct again … nearly ;) ‘Cause in the scene he is not actually in jail, it’s a dream sequence. And, yes, indeed, Bryan made a near-miss with Kafka.

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