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Klimt (2006)

5.1
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Ratings: 5.1/10 from 2,104 users   Metascore: 44/100
Reviews: 47 user | 35 critic | 7 from Metacritic.com

A portrait of Austrian artist Gustav Klimt (Malkovich) whose lavish, sexual paintings came to symbolize the art nouveau style of the late 19th and early 20th century.

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(as Raúl Ruiz)

Writers:

, (translation: English), 1 more credit »
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Cast

Cast overview, first billed only:
...
...
...
Secretary
...
Sandra Ceccarelli ...
Serena Lederer
...
Aglaia Szyszkowitz ...
Mizzi
Joachim Bißmeier ...
Hugo Moritz
Ernst Stötzner ...
Minister Hartl
Paul Hilton ...
Duke Octave
Annemarie Düringer ...
Klimt's Mother
Irina Wanka ...
Florentín Groll ...
Messerschmidt (as Florentin Groll)
Miguel Herz-Kestranek ...
Dr. Stein
Marion Mitterhammer ...
Klimt's Sister
Edit

Storyline

A character study and a meditation on art in a time of opulence and syphilis. Gustave Klimt (1862-1918) lies in hospital, dying. In reveries, he recalls the early 1900s: it's fin de siècle Vienna. At the World Exposition in Paris, Klimt meets Georges Méliès, who does a moving picture for him, and Klimt falls under the spell of a woman who may be Lea de Castro. We see Klimt in his studio; we meet his mother and sister, who suffer from mental illness. We watch Klimt the libertine. On his deathbed and as a younger man, he imagines things as well: encounters with ministers and waiters and with women who are willing participants in his pleasures. Is this the source of art? Written by <jhailey@hotmail.com>

Plot Summary | Plot Synopsis

Genres:

Biography | Drama

Certificate:

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Details

Country:

| | |

Language:

| |

Release Date:

3 March 2006 (Austria)  »

Also Known As:

A Viennese Fantasy à la manière de Schnitzler  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

(director's cut) | (producer's cut)

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Goofs

When Klimt mashes the cake in the man's face, the icing on the man's face is not covering his right eye. In the next close-up shot, there is a large blob of icing covering the man's right eye. In the next long shot when Klimt starts to wipe the man's face, the icing is no longer covering the man's right eye again. See more »

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User Reviews

Wittgenstein's Gaudi Chapel
10 September 2008 | by (Virginia Beach) – See all my reviews

While the world relaxed and enjoyed itself between wars. When art was a solitary and experimental endeavor. When Europeans rediscovered the power of nature in sex and in some cases the other way around. When lives really could be deep, and debauched and intelligent too, three men came out of Vienna: Freud and Wittgenstein were two of them. There may have not been such a concentration of greatness for many decades before and until the Fasori Gimnázium, also under by then slippery Austrian rule.

There's a commonality among those two and Klimt, and even between them and the more cerebral Budapest next generation. Its a matter of passion, sense (in both meanings) and concept curvature. While the two great art nouveau geniuses were wondering about space in Brussels and Barcelona, Klimt worked his space, curvature ans escape from the inside of women. Lots of women.

His work is of that type that is immediately attractive, so lots of people decorate with it. A brief familiarity with it breeds confusion, so unless you dig as deeply in viewing as he did in making, it will not connect. As a result, if you are serious about making a film of him, about him, you simply cannot do the normal thing: somehow artificially inducing drama into portraying a few known events. You cannot do what Greenaway did with Rembrandt, simply showing sexual passion and making the film painterly.

So along comes Ruiz, who is a strange bird, very much like Klimt. There's no middle familiarity with him. Either you know him deeply, you wrap your life where he has, or you miss the passion. You think him dull. You actually believe that someone would spend this much energy fine tuning the ordinary. Well, the thing about these three men is that they were their own worst critics. They all three created their own new worlds were none was before, worlds so perfect and pure anyone of lesser power would be unable to break them. Then they each turned on their own creation, finding and exploiting the weaknesses of their own creations, selves and now us. The art is not in the man but in how he made himself broken.

Look at each of them and see the beauty in partial dismemberment. Ruiz denotes this at the beginning with otherwise inexplicable, powerful amputee sex. As with Ruiz' best work, people act as others, split selves, whores of themselves, auditors and bureaucrats of sex. Love must be dissymmetric. Narrative to have power must be a bit jagged inside, where you want to go.

I admit, I think Malkovich was a bad choice. He really can be dull. But he is supposed to stagger through this, finding puddles of warm light, clean frames or open enclosure. The women are the thing, always the thing here and they are drawn well.

Ted's Evaluation -- 3 of 3: Worth watching.


9 of 15 people found this review helpful.  Was this review helpful to you?

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