Klimt

"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.

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.

Being John Malkovich was one of, if not the, strangest movies I have ever seen. Klimt is similarly strange, but not quite that strange. Like Russell Crowe's John Nash in A Beautiful Mind, Klimt hallucinates people, and in a similar way, you, in the audience are just as confused about who is real and who is imaginary. You are only gradually let in on understanding this.

The movie is decorated with dozens of naked women who mainly parade about, or who try to seduce Klimt. Given that he is not particularly handsome, charming or intelligent, I failed to see the attraction. Perhaps it was just his fame as a painter.

The interiors and costumes are opulent turn of the century Vienna. Elaborate Viennese pastries tempt the eye. The sets are the main appeal of the movie.

There is a lot of cat and mouse dialogue where the characters reveal nothing and say nothing while attempting to sound profound. It is all quite frustrating.

Nikolai Kinski plays the homosexual painter Egon Schiele in an exaggeratedly swish way, reminiscent of Da'an's hand gestures in Earth Final Conflict.

The costumes and hair treatments are so elaborate, that I could not for the life of me tell the female characters apart. Is this a new character or an old one in a new do? The characters all behave the same way and look similar. I didn't develop any bond with any of the characters because I could not even tell them apart.

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!

KLIMT:A Viennese Fantasy à la manière de Schnitzler is a controversial film, a montage of the elements of the art world and the sociopsychological tenor of the times of the infamous fin de siècle in Europe, a period greatly influenced by the writings of Sigmund Freud, thee novels and 'performances' of Arthur Schnitzler that focused on the emergence of the new views of sexuality. Being about the rise of sensualism in art and the subsequent Jugenstil (Art Nouveau) and Vienna Secessionist movement, writer director Raúl Ruiz (with aid from Herbert Vesely and Gilbert Adair) has painted a larger than life canvas of this fascinating period in art and in history in general and happens to populate it with significant character from the period. No, the film is not based on hard facts and yes, there are inconsistencies throughout. But that is of less importance than the allure of the period that very successfully comes through this film using the magic of light and the fluidity of the camera.

Gustav Klimt (1862 - 1918) was a strange artist, a man who believed in a sensualist artificial religion and an artist who favored erotic imagery in his canvases. He was controversial in his time, yet today his paintings using gold leaf and silver leaf and design patterns of expression that defined Art Nouveau sell for many millions of dollars: his style is still imitated and he is still celebrated as the father of erotic art. The film opens and closes with Klimt (John Malkovich) submerged in healing waters in a rather stark hospital, attended by a nurse and his disciple, the equally sensational Egon Schiele (Nicolai Kinski, keeping his hands in the spread-finger style Schiele painted so often!). From this point bits and pieces of Klimt's bizarre life are explored, at times explained through imaginary conversations with his secretary (Stephen Dillane). His marriage, his 'affair' - or is it simply a manifestation of the influence of a muse? - with Lea de Castro (Saffron Burrows), his self indulgence in all things erotic (he is said to have has many affairs with Viennese women yielding a large number of children who bear his genetic puzzle), and his conflict with the Academy of Art, a sense of disgust with the current oeuvre of painting as sterile, and his prodigious output of paintings and drawing of the female nude - all are depicted with tremendous imagination here. The cinematography is as strange as the story it captures, using falling snowflakes in one scene to suggest the falling pieces of Klimt's gold leaf enhancement of his most famous works in others.

The dialogue is at times raw and at other times superficial and the audience is begged to indulge in the fantasy that is being recreated. But the film stands well as an example of an art history period and John Malkovich makes a credible Klimt. This is more a film for art students and art lovers who are eager to explore the beginnings of Art Nouveau than a film for audiences eager for accurate biography.

Grady Harp