Klimt (2006, Raoul Ruiz)

Finally I got a hold of the director’s cut, which I’ve been looking for since reading about this movie somewhere five years ago. In the meantime I’ve discovered that I love most of Ruiz’s movies, but I don’t get much out of painter bio-pics, even artsy ones – so this was destined to be a mixed bag.

I’m not sure what happened, or who was supposed to be whom. I know John Malkovich plays the artist Klimt, and an appealingly manic Nikolai (son of Klaus) Kinski plays Egon Schiele. I know Klimt is visited by an embassy “secretary” (Stephen Dillane, Kidman/Woolf’s husband in The Hours) whom no one else can see. The rest becomes a blur of people and places, but an appealing blur, since Ruiz can’t make a boring film, not even with a prestige artist bio-pic in English (quite good English, translated by the writer of The Dreamers). The very fluid moving camera and framing device of a dying man in bed (Klimt, of syphillis towards the end of WWI) bring to mind Mysteries of Lisbon.

Egon Kinski:

Klimt seems to enjoy refractions and mirrors as much as Ruiz does. Klimt meets Georges Méliès around the turn of the century, sees him a couple times more, also meets the man who portrayed Klimt in a film – is intrigued with the girl named Lea who he “meets” in the film (Saffron Burrows of fellow painter-bio-pic Frida) and her own actress-double.

Either Lea or her double:

Appearing as characters I didn’t figure out: Joachim Bissmeier (Zimmermann in Joyeux Noel), Ernst Stotzner of Underground, and Annemarie Duringer of Veronika Voss and Berlin Alexanderplatz. It also didn’t help that there’s a woman named Midi and another named Mizzi.

B. Berning:

With Ruiz directing, philosophical inquiry is a not an end in itself, but a springboard for the imagination, and for humor. In one scene, there is a street brawl between men wearing top hats and men wearing bowler hats. By the next scene we see that the bowler hats have won, for there isn’t a top hat in sight. The upper class elitists have surrendered their influence, and the symbol of modern egalitarianism, the bowler hat, has taken over. It’s a clever visual riddle that in a way recalls the writer Lewis Carroll. Carroll was also a great imaginative thinker who preferred to clothe his intellect in stories that would amuse a young girl. Ruiz’s audience is decidedly adult, but he aims to entertain nonetheless.

The word I used most in my notes is “unusual.”

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