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Klimt (2006)

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A portrait of Austrian artist Gustav Klimt, whose lavish, sexual paintings came to symbolize the art nouveau style of the late nineteenth and early twentieth century.

Director:

Raoul Ruiz (as Raúl Ruiz)

Writers:

Raoul Ruiz (as Raúl Ruiz), Gilbert Adair (translation: English) | 1 more credit »
1 win & 4 nominations. See more awards »

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Cast

Cast overview, first billed only:
John Malkovich ... Klimt
Veronica Ferres ... Midi
Stephen Dillane ... Secretary
Saffron Burrows ... Lea de Castro
Sandra Ceccarelli ... Serena Lederer
Nikolai Kinski ... Egon Schiele
Aglaia Szyszkowitz Aglaia Szyszkowitz ... Mizzi
Joachim Bißmeier Joachim Bißmeier ... Hugo Moritz
Ernst Stötzner Ernst Stötzner ... Minister Hartl
Paul Hilton Paul Hilton ... Duke Octave
Annemarie Düringer ... Klimt's Mother
Irina Wanka Irina Wanka ... Berta Zuckerkandl
Florentín Groll Florentín Groll ... Messerschmidt (as Florentin Groll)
Miguel Herz-Kestranek Miguel Herz-Kestranek ... Dr. Stein
Marion Mitterhammer Marion Mitterhammer ... Klimt's Sister
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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:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Austria | France | Germany | UK

Language:

English | German | French

Release Date:

3 March 2006 (Austria) See more »

Also Known As:

Климт See more »

Filming Locations:

Austria See more »

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Box Office

Gross USA:

$97,656, 31 December 2007

Cumulative Worldwide Gross:

$475,711, 31 December 2007
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

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

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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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 »

Quotes

Architect Loos: Now what could be more sexual than the crucifixion?
See more »

Connections

References Frida (2002) See more »

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User Reviews

 
"This film wasn't released, it escaped"--Catskills Folk Saying
6 July 2007 | by srcannSee all my reviews

"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.


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