Stealing Klimt recounts the struggle by 90-year-old Maria Altmann to recover five Gustav Klimt paintings stolen from her family by the Nazis in Vienna. From the end of the War up until last... See full summary »
Michael J. Bazyler,
Come to the Village of the Dogs, it's easy to find. Just follow the avenue of crutches and the prosthetic legs hanging from the trees. It's where the Virgin Mary keeps appearing in the sky.... See full summary »
A single woman in her early thirties, Martha (Margit Carstensen) is on vacation with her father in Rome when he has a heart attack and falls down dead. She reacts rather indifferently and ... See full summary »
Rainer Werner Fassbinder
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
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 »
Like other reviewers I expected more from this film and left the cinema both angry and annoyed at the historical inaccuracies regarding Klimt's life and death. These are the aimless meanderings of a film director who clearly disappeared into his own orifice and where the sun doesn't shine. Klimt is represented as a neurotic diseased immoral individual which could not be further from the truth if you research his life. I've always regarded John Malkovich as an overrated Ham with a decidedly creepy persona evident in all his films and been continually astonished at his selection for almost all of his roles. The other reviewers are right - this one is a stinker and the artist Klimt deserves a better epitaph.
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