Editing Anthony Perkins (section)

==== European films ====
[[File:GoodbyeAgainPoster.png|thumb|Perkins and Ingrid Bergman in an advertisement for ''Goodbye Again'' (1961)]]

After buying himself out of his Paramount contract, Perkins moved to France and began making European films, the first of which was ''[[Goodbye Again (1961 film)|Goodbye Again]]'' (1961) with [[Ingrid Bergman]], shot in Paris. Paula Tessier (Bergman) tries to resist the charms of Philip Van der Besh (Perkins), who is the son of one of her clients, while stuck in an unfulfilling affair with a cheating businessman ([[Yves Montand]]). It was originally entitled ''Time on Her Hands'', although Perkins suggested the English title ''Goodbye Again'' after one of his father's plays.<ref name="Foshee">{{cite news|url=https://www.tcm.com/tcmdb/title/17134/goodbye-again/#articles-reviews?articleId=88170|title=Goodbye Again|work=Turner Classic Movies|first=Andrea|last=Foshee|date=November 19, 2007|access-date=January 9, 2022}}</ref> Again, Perkins found himself subjected to the romantic attention of his female costar, although he customarily declined.<ref name=People/> Despite any off-screen tension this might have caused, Perkins's role in the film was greatly praised and earned him the [[Cannes Film Festival Award for Best Actor]].<ref name="Foshee"/>

Perkins returned briefly to America to appear in a short-lived Broadway play, ''Harold'' (1962), but he returned to Europe shortly thereafter. He was then cast in ''[[Phaedra (film)|Phaedra]]'' (1962), shot in Greece with [[Melina Mercouri]] and directed by [[Jules Dassin]], undoubtedly inspired by Mercouri's recent success in ''[[Never on Sunday]]''. It was a modern retelling of a Greek tragedy where Alexis (Perkins) falls in love with Phaedra (Mercouri), who is also his stepmother. When asked about Perkins, Mercouri fondly said, "Ah, Tony. He is attractive to women. He is dangerous to women. When you touch him, he goes away a little. He is an [eel]. [[Raf Vallone]] [who played Perkins's father and Mercouri's husband in the film] is a good-looking man, but Perkins{{nbsp}}... Ah, I'd pick Perkins any time." Perkins's role in the film was also met with praise.<ref name="Winecoff">{{cite book|last=Winecoff|first=Charles|title=Split image: the life of Anthony Perkins|publisher=Dutton|year=199}}</ref>

His next film was ''[[Five Miles to Midnight]]'' (1962), which was his second motion picture with [[Sophia Loren]]. It follows Lisa (Loren), who believes her husband Robert (Perkins) died in a plane crash. When he reveals he is still alive, he urges her to collect the life-insurance money from his death. The film was a major shift away from the romantic leads he'd played in ''Goodbye Again'' and ''Phaedra'' and leant more toward his ''Psycho'' persona. Filming began under the title ''All the Gold in the World'', and Perkins reportedly only signed onto the picture after hearing Loren had replaced the previously cast [[Jeanne Moreau]] as his coerced wife.{{sfn|Winecoff|1996|p=235}} The production process was captured on video for the documentary ''The World of Sophia Loren'', where she and Perkins can be seen laughing between takes, practicing scenes, solving puzzles, and singing the popular "After I'm Gone". (Tab Hunter had covered the song in 1958.){{sfn|Winecoff|1996|p=236}} The film was a moderate success.{{sfn|Winecoff|1996|p=237}}

[[File:Anthony-Perkins-Orson-Welles-The-Trial-Set.jpg|thumb|Anthony Perkins (right) with Orson Welles on the set of ''The Trial'' (1962)]]
Perkins continued with his mentally disturbed performances in [[Orson Welles]]' version of ''[[The Trial (1962 film)|The Trial]]'' (1962), based on the [[The Trial|Kafka novel]] about Joseph K, a man who's arrested and attempts to figure out what his crime is and how to defend himself. Perkins did not mind the typecasting as long as he was able to work with Welles, who personally wanted him to play the lead. To discuss the possibility of Perkins taking on the role, the two met on the stairs of Welles's hotel. Perkins said "[Welles] paid me the great compliment of saying he would like to know whether I would make the picture because if I wasn't going to make it, he wasn't going to make it either."{{sfn|Winecoff|1996|p=240}} It is likely Welles was trying to make his runaway hit like ''Psycho'', but even if that was the purpose, Perkins did not seem to mind. "He's the best there is," Perkins said of Welles. "He's wonderfully sure of himself and his ability without being dictatorial and autocratic about it{{nbsp}}... [H]e isn't inflexible."{{sfn|Winecoff|1996|p=240}} The film quickly went over-budget, although this did little to alter Perkins's vision of his director. In fact, during the process of filming, his admiration for Welles only seemed to increase. During filming, he considered writing a book about Welles and his career, even going as far as to carry a tape recorder in his coat pocket for weeks, but he abandoned it in fear of offending his boss. Welles later said to Perkins, "Oh, why didn't you [do it]? Why didn't you? I would have loved it!"{{sfn|Winecoff|1996|pp=241–242}}

Besides Perkins's abandoned plan to write a book about Welles, there was genuine affection between the two. Later in life, Welles remembered Perkins fondly: "A strange thing happened with [''The Trial'']: it got wonderful press, all over the world, even in America. Even in ''Time'' and ''Newsweek'' and everything, wonderful press. And Perkins got very bad press, all over the world, and the entire blame for that is mine, because he is a superlative actor and he played the character that I saw as K, and paid the price because nobody else sees it my way{{nbsp}}... I recognize that I did Tony–who is one of the best actors we have–a great disservice, because he deserved to have made a tremendous success and if he didn't with the critics the blame is one hundred percent with me."<ref>{{cite web|url=https://www.youtube.com/watch?v=RbUe-bM6bXg&feature=youtu.be|title=Filming 'The Trial' (1981)|date=October 10, 2012 |via=YouTube |access-date=January 23, 2022}}</ref> Despite any regrets Welles might have had with his portrayal of Perkins and his character, the film was a massive success and later became a [[cult classic]]. Welles stated immediately after completing the film: "''The Trial'' is the best film I have ever made".<ref name=BBC>{{cite web|url=http://www.wellesnet.com/trial%20bbc%20interview.htm |title=Orson Welles on THE TRIAL |first=Huw |last=Wheldon |publisher=BBC |year=1962 |via=Wellesnet |access-date=March 6, 2010}}</ref> It was the first of four collaborations between Perkins and Welles.{{sfn|Winecoff|1996|p=239}}

[[File:APerkinsBBardotPublicity.jpg|thumb|left|Perkins embracing Brigitte Bardot in a publicity still for ''Une ravissante idiote'']]

His final disturbed role in another romantic motion picture was in ''[[Le glaive et la balance]]'' (1963), shot in France. It had a very insignificant impact.{{sfn|Winecoff|1996|p=243}} His next film, however, was ''[[Une ravissante idiote]]'' (1964) with [[Brigitte Bardot]], which was a comedy. It followed a Russian spy (Perkins) who employs a gorgeous but dim-witted woman (Bardot) as his accomplice in procuring secret documents. Perkins made history as the first American actor to play B.B.'s love interest,{{sfn|Winecoff|1996|p=250}} although Perkins later openly admitted Bardot was his least favorite costar, calling her "Bardot-do-do."<ref name="Hadleigh 1996"/> Bardot was another woman on Perkins's roster of suitors, but Perkins always denied Bardot's invitations to her penthouse. Perkins was incredibly uncomfortable around Bardot,{{Sfn|Winecoff|1996|p=251}} which was drastically different from his behavior around his previous (older) costars.

After ''Une ravissante idiote'' , Perkins shot ''[[The Fool Killer]]'' (1965) in Mexico.{{sfn|Winecoff|1996|p=249}} An art film, the movie followed a 12-year-old boy ([[Edward Albert]]) who wanders the Civil War-ravaged South with a philosophical axe murderer (Perkins), and was Perkins's second film about the American Civil War. The film was well received but not overly popular at the box office,<ref>{{cite web|url=https://www.knoxtntoday.com/the-summer-anthony-perkins-came-to-concord/|title=The Summer Anthony Perkins Came to Concord|last=Smith|first=Mona B.|website=Knox TN Today|date=June 2, 2020 |access-date=January 23, 2022}}</ref> and Perkins returned to France for a cameo in ''[[Is Paris Burning? (film)|Is Paris Burning?]]'' (1966), a war film about the liberation of Paris in 1944 at the hands of the French Resistance. This was his second Welles collaboration and reunited him with director [[René Clément]], who had had the same occupation over Perkins in 1957's ''This Angry Age''. In addition, Perkins's friend, [[Gore Vidal]], wrote the script.<ref>{{cite web|url=https://www.imdb.com/title/tt0060814/fullcredits?ref_=tt_ov_st_sm|title=Is Paris Burning? (1966): Full Cast and Crew|publisher=IMDb|access-date=January 23, 2022}}</ref>