Klimt

Obviously, Raoul Ruiz's fantasy flick about Viennese Fin-de-Siecle artist, Gustav Klimt was honed down quite a bit to fit into a 97 minute format for theatrical presentation. Unfortunately, this DVD does not include the longer director's cut that in all probability would shed some much needed light on this cinematic phantasmagoria.A miscast John Malkovich plays Klimt with a disdainful aloofness that I imagine does not adequately represent the artist's humble background. Klimt's decorative paintings implementing design techniques and motifs found in Byzantine mosaics and Egyptian and Japanese art, revolve mainly around his obsession with the female form. Many of his overtly sexual allegorical drawings were considered pornographic--indeed he was criticized for this at the time and he thumbed his nose at his critics with his painting "Goldfish" where his model is deliberately posed with her derriere presented to the observer and subtitled: "To my Critics." Klimt's erotic nature is exemplified by his many relationships with his models--he never married but fathered at least fourteen children--and the erotic poses he captured--most notably Danae depicting a woman in the throes of orgasm.My brief history suggests an earthier Klimt than that depicted by the effete Malkovich. Nonetheless Ruiz's vision of Klimt begins with him in a hospital on his deathbed, suffering from the ravages of advanced syphilis (Klimt died of pneumonia) and looking back on a life that he equates with an inferno of sorts. Frequently, Malkovich as Klimt quotes from Dante and indeed he like the esteemed poet was plagued with his fair share of Beatrices.Fashion designer Midi or Emilie Floge, (Veronica Ferres ) makes a lovely companion for the reckless Klimt. Ruiz hints that their relationship was strained. Platonic? Klimt does not kiss her on the mouth and Midi shows anger and annoyance. Nonetheless she is privy to the birth of his daughter by another woman--she and a caftan-clad Klimt cavort about in her dress studio celebrating this news as a photographer captures their avant-garde style. However, she remains steadfast and most obviously a lovely muse as shown in the sequence where her face and neck meld into a variety of Klimt backgrounds: poppies, swirls and gold foil.A rather sylphlike stick Saffron Bellows plays Lea di Castro, the sultry turn-of-the-century ballet dancer and postcard beauty that turned the head of the Austrian Emperor, Cleo De Merode. Fascinated by her, Klimt pursues her to her rooms and is observed through a double glass by her keeper, a voyeuristic duke, while the two carouse amongst opulent pillows and sheets fit for royalty. As Klimt is unsure as to whether he is bedding Lea or Lea's double, I ponder Ruiz's symbolism with regard to this. The intentional confusion muddies an already overloaded bombardment of images of the Viennese caught in the act of armchair philosophizing about everything and anything seemingly intellectual and pretentious in the city's numerously well-heeled coffee shops.Klimt as Mr. Erotic himself holds center stage in this venue. The artist is depicted as being hounded by a variety of odd characters. Mizzi, the mother of his son, Gustav, wishes to bring her child up Jewish. His mother and sister, both prone to crazy outbursts, sarcastically enumerate all of Klimt's illegitimate children while Klimt notes with typical Malkovich affectation that "Children are gifts from God." Painters Egon Schiele and Oskar Kokoschka blow in and out of different dreamlike segments where we see them envisioning their own art. And Klimt and a figment of his imagination in the form of a functionary, "The Secretary" allow Ruiz to ruminate on art and its function as an outlet to the reality of everyday life in true coffeehouse talking style.What does it all mean? Good question. Probably better answered in the longer version that would add more sequences to the overall film and allow Ruiz's vision more time to dwell in the mind of the audience. In the "Making of Klimt" bonus footage, Ruiz and the actors speak of their experience creating the film. Within this context there are segments of the film shown that do not appear in the featured 97 minute format. Because of this and the convoluted dreamlike state the film conjures up, I suggest viewing the longer format and if possible viewing it a few times just for clarity sake. Do watch the bonus features as they give some illumination on the film's intention.Bottom line? Malkovitch plays painter Gustav Klimt with his usual free-wheeling free-spirited snobbery which in light of what is known about this personage seems counterproductive. In true art house style, director Ruiz presents a muddled portrayal of the artist who is depicted as being at odds with himself with regard to the true meaning of what he has accomplished. If he lived according to his conscience, did he live well and with the gusto he seemed to preach? Malkovitch's Klimt seems too detached. Somehow I believe the real deal lived just the way in which he wanted--with little if no regret and with little regard to the rules of convention. I recommend viewing the longer director's cut of this film at least twice for a better understanding of the director's intent. Not for those expecting a standard bio-pic--this one is definitely a surrealist interpretation of the artist's life. Supplement your understanding with " Gustav Klimt: From Drawing to Painting ," the novel, " The Painted Kiss: A Novel " narrated by a fictive Emilie Floge and the current online Tate Gallery Klimt exhibit. IKlimt.com also provides a marvelous timeline.Diana Faillace Von Behren"reneofc"

Somewhere along the lines, this film got lost to time, and it's barely 14 years old. 'Klimt' is a remarkable movie that portrays the life of famed artist Gustav Klimt during the final days and weeks of his life. We see the world through his eyes and experiences, even as his mind begins to go and his reality transforms - often into arty or horrific hallucinations. For art scholars, the film offers an inside look at the artist's techniques and the ways that he managed and handled his models. The eroticism of the film is so visionary that it barely exists on an erotic plain. The movie encompasses it in such a way that it becomes merely another part of the art that is so masterfully delivered in this picture. 'Klimt' is worthy of a re-release on Blu Ray.

Just as Klimt defined his work as allegory so too is the film Klimt. It is a representation of Klimt the man, the artist in allegorical, surrealistic terms. It is intended as anything but a literal biography or any other literal representation of plot, story, much less traditional notions of character development. The film maker has achieved near perfection in his presentation of Klimt, his work, his view of the world as allegory. I would suggest some other reviewers refer to a dictionary. Might help just a tad. This film is intended to be experienced - not understood per se - but if you must put every symbol or personage in the film representing a symbol or quality then have at it. Could keep you busy until your head explodes. Magnificent film making.  Symbols and Allegories in Art (Guide to Imagery Series)

I thought that this was definitely worth a watch. The imagery was very reflective of the era and a real part of enjoying the movie. I must confess that I don't know that much about Klimt's life and no doubt missed some of the nuance of the story because of it. John Malkovich is always worth a watch in my book and I am happy to have the movie in my collection.

In a series of more or less disconnected scenes and vignettes which oscillate randomly between reality and the protagonist's hallucinations, the movie depicts the mental deterioration of a character loosely based on the Viennese Secessionist painter Gustav Klimt. According to director Ruiz, this fictionalized Klimt was ravaged by general paresis, that is, syphilitic dementia. The real Klimt died not from syphilis but of complications of a stroke. Largely unexplored by this film are the Vienna Secession, and the development of Klimt's artistic style. Certainly this is not the first fictionalized biography: in contrast to Shaffer's Amadeus, for example, Salieri was not responsible for Mozart's death, but in his fictionalized version of history, Peter Shaffer far more deftly explores the mystery of genius. Some reviewers have commented that one needs to do research to understand the film. I submit that such a requirement is evidence of the film's failure.

What I like about it has John Malkovich in it, but what I don't like about it is that it's used.

On time in good condition

The Movie is fascinating and often very disturbing. Gustav Klimt is on his deathbed and has flashbacks about his life. It is a very colorful film. Sensual scenes, brilliant colors and costumes. I think someone who admires and knows his art would get satisfaction from this film.N.

A very good film on the life of Gustav Klimt,I am no expert on him and found the film well acted and (I guess) a good insite into his life. Certain parts got a little esoteric but overall the usual great performance from John Malkovich. 4 stars purely for the difficult to follow parts.

Great!

Very disappointing, dull and repetitive.

Great interpretation and theme.

Well, I live anything to do with the secessionist movement. A good visual interpretation. As much as I love John Malkovich's work I never saw him as Klimt though. We all have ideas of how people looked and behaved I suppose.