Klimt

i have always been a fan of Malkovich's work but this one is a real stinker despite the good effort and the risks Saffron Burrows took for her role in the movie. the director's did a poor job since the film doesn't hold up or live up to the fame of artist. there is no opening shots,, the first scenes are so behind the purpose of the story.. the soundtracks were another failure by the director... the camera-work is odd and pointless and in no way helps the watcher follow the storyline,, the script is another stinker as its cheesy and odd (bad odd). overall, the film is not worth your while and watching for the purpose of knowing more about the artist is pointless since it will do nothing but misguide you ( you better off reading his book)... i would not suggest anyone to watch this film unless you are a die-hard fan of Saffron Burrows and wants to see more of her.

"I want to wash out my brain." "Did I miss something or did this film stink?" Comments heard on exiting the screening of "Klimt" at the Siskel Film Center, Chicago July 4, 2007

Hunter S. Thompson blew the journalistic world away by openly reporting events through the prism of his own drug-soaked experience. Terry Gilliam's cinematic portrayal of this in "Fear and Loathing in Las Vegas" conveyed this brilliantly.

So far as I know, Gustav Klimt did not portray his artistic vision in an ether-soaked stupor or in a state of syphilitic delirium. My problem with Mr. Ruiz portraying him as though he did is that Klimt actually led an exuberant revolutionary artistic movement in a city and continent exploding with creative energy, and this portrayal could hardly be farther from the truth. Even a non-linear poetic portrayal of the creative process should shed some truth on its essence.

The tone of the movie was static, suffocating, semi-conscious and joyless. Klimt's life was full of color, sexual experimentation and living life to its fullest, so it additionally seems odd that John Malkovich sleepwalks through his performance with less joy than Rod Steiger in "The Pawnbroker."

If Mr. Ruiz wanted to make a film about a fever-dream (Klimt died of pneumonia following a stroke, not of tertiary syphilis as suggested in the film), perhaps he should have entitled it "Fever-Dream: with a whimsical guest appearance by my fantasy of Gustav Klimt."

This film may be of use to film students to prove that images and sound do not automatically add up to a movie.

I decided to rent this movie because there was a label on its cover - "WINNER. Moscow International Film Festival. Best Film" (distributed by KOCH Lorber Films, KLF-DV-3151). Technically it's not a lie - it's just misleading. The "Klimt" movie was a winner in a much smaller competition - "Russian Film Clubs Federation Award for Foreign Films" (there are a lot more prizes at this festival - Golden St.George, Silver St.George and so on). No more awards for this movie, and it reflects its light caliber.

I didn't like this movie, and I have to say I admire Klimt paintings. I don't think that Klimt was so stiff and also sleepy. There is much more life in one simple photograph from the artist Wiki page, than in this whole movie. All these endless camera rotations around subjects! And too much too loud music... And actually an absence of scenario...

They tried to sell this movie to public - nudes, decadent atmosphere, this misleading label. The ratings show that they failed... I give it 5 for some visual enjoyment I had... and some women hats there were really-really amazing!

Judging from the reviews here you either love this movie or you absolutely hate it. I for one loved it. Being from Austria myself, you often get confronted with Schiele and Klimt - especially in Vienna, to a point where you're basically sick of it. Because of that I never got to fully appreciate these two artists until much later. This movie did help me to appreciate the artwork more. I was able to see this movie at the premiere in Austria when it came out and haven't seen it since then (though I would like to) and I had to think about it many times since then.

I can imagine that the reason many people didn't like this movie was because it's not what they expected.

If you want to see a straight forward, biographical accurate movie about the life of Gustav Klimt, then this movie isn't for you.

The basic premise is that Gustav Klimt is lying on his death bed and in a manner of flashbacks you get to see random scenes about a fictitious story revolving around a mysterious woman. Blinded by the fever, the scenes appear surreal and deliver a feeling similar to what you may feel upon viewing Klimt's artwork.

There's no straight plot following this movie and the real Klimt may not have been the way he appears in the movie, but that was never intended anyway. What this movie does is brilliantly deliver an atmosphere very fitting to the Wiener Moderne. The very important "Kaffeehaus Kultur" at the time, where intellectuals of Vienna spent the entire day in coffee houses is portrayed very precisely as well.

I also think that Malkovich and Nikolai Kinski seem to be a near perfect cast for Gustav Klimt and Egon Schiele.

Anyway, if you've read this review and get the feeling that this movie is not for you, then don't watch it. But if you're intrigued by what you've read then by all means, go see this movie!

This is a superb movie; IF (and this is a big if) one is already familiar with the life and work of Gustav Klimt. This movie was intended as an "art house" film, and was never meant to be a major theatrical release. However, even for an "art house" film it is rather specialized in how it portrays Gustav Klimt; and if one is not familiar with this artist (and Vienna at the turn of the 20th century) then this film is quite confusing and vague- the quantity and quality of female imagery notwithstanding. Despite its very specialized nature some major stars are in this film though only one is an American and even he lives and works mainly in Europe. That star is John Malkovich; who is in the title role. Malkovich gives a fine job though he does not resemble Klimt as closely as some other actors who have portrayed Klimt in the past (most notably August Schmolzer in "Bride of the Wind"). The only other actor in this film that may be recognized by Americans is Saffron Burrows; who portrays his great love interest. Her role is fictional, but serves as a continuity thread through this film which depicts in an allegorical manner his career and life from 1900; when Klimt won a gold medal at the great Paris Exposition to 1918; when he died.

The other actors are notable European actors whose works have generally not been seen in the United States. The notable German actress Veronica Ferres portrays Emily Floge; Klimt's lifelong companion. Again, unless you are familiar with the life of Klimt the role of Floge in this movie is very difficult to understand. And, it is never explained in the movie. Basically, Klimt and Floge were in-laws by the marriage of Gustav's brother to Emily's sister. The seemed to never have been "lovers" but the unmarried Emily seems to have been a wife (as well as business partner) to Gustav in every other respect. It was a complex relationship and Ferres explains in a side featurette ("The Making of Klimt") the difficulty of showing this relationship. The Austrian actress Aglaia Szyszkowitz portrays "Mizzi"; a model who bore two kids for Klimt of which one is shown- his son Gustav. He never married her, and the movie implies that he saw his kids only occasionally without financially supporting them in any noticeable manner. In real life Klimt did financially support his children by this woman. Of note is that the nickname for Emily Floge was "Middi" and the pronunciation of the two names is very similar; adding to the already considerable confusion.

The movie does portray Klimt in a negative manner concerning his offspring. He acknowledged paternity of four children and the movies deals with the other two as well as the two of Mizzi. Those children are dealt with almost as afterthoughts and one is positively embarrassing (perhaps the ultimate embarrassment). In reality Klimt probably had many more kids and this concern is mentioned briefly in the film. The film is certainly critical of Klimt in this regard; as well as his attitude towards women in general. There are some historical inaccuracies in this film such as a nurse in a Vienna hospital in early 1918 who has a VERY obvious British accent. This is highly unlikely, to say the least, to have been the case considering that the Austrians were in war with the British at that point, but overall the historical settings and costumes are well researched. The movie overall is well researched, but, again, quite confusing to somebody who is not very familiar with the life of this genius. I recommend that anybody who wants to see the film to first read up and look at the artworks of Klimt. Then the film will make sense and be seen as the superb achievement it is.