Product Details

• Actors: John Malkovich, Veronica Ferres, Saffron Burrows, Stephen Dillane
• Directors: Raoul Ruiz
• Format: Color, Dolby, DVD, Widescreen, NTSC
• Language: English, French, German
• Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  
• Aspect Ratio: 1.78:1
• Number of discs: 1
• Rating: Unrated
• Studio: Koch Lorber Films
• DVD Release Date: January 8, 2008
• Run Time: 97 minutes
• Average Customer Review: 2.8 out of 5 stars  See all reviews (17 customer reviews)
• ASIN: B000WZAE7W
• Amazon.com Sales Rank: #50,478 in Movies & TV (See Bestsellers in Movies & TV)
• For more information about "Klimt" visit the Internet Movie Database (IMDb)

Editorial Reviews

Amazon.com

John Malkovich inhabits the role of dissolute artist Gustav Klimt so completely one almost expects to see his wild-eyed features reflected in Klimt's well-known painting The Kiss. The story is a (very) loose biopic about the tortured life of the Austrian artist, whose deathbed ruminations begin the film and the flashbacks that begin to paint the portrait of his incredible, hedonistic life. Even in the relative freeness and sophistication of fin de siècle Europe, Klimt and his fascination with the overtly erotic were bound to become lightning rods for high society, not to mention the self-protective Western art world. Yet Klimt declares (over and over), "I don't give a [bleep] what the critics think," and he begins to build his signature sensual paintings--and a growing grudging respect in his home country as well.

Malkovich is well matched by Saffron Burrows, who plays a witchy French dancer as committed to the idea, and expression, of free love as is the maestro. The film is especially noteworthy for its lush cinematography, which does remarkable justice especially to Klimt's famed "gold" paintings (of which The Kiss is still one of the most recognizable). The city of Vienna itself appears to be lit from within by a million golden candles. --A.T. Hurley

Product Description

Gustav Klimt lived his life like he painted it – full of intensity, sensuality and passion. In this biographical fantasy by acclaimed director Raúl Ruiz (Time Regained), Klimt (John Malkovich) recalls the decadence of his past in feverish visions from his deathbed. Reflecting on his many torrid affairs and his struggles for artistic freedom, he travels back to the 1900 World Exhibition in Paris. There, Klimt is introduced to a mysterious dancer, Lea de Castro (Saffron Burrows), who emerges as his muse and the personification of his own erotic ideals and carnal desires.

DVD Extras:
Making-of Featurette, Original Theatrical Trailer

Customer Reviews

Most Helpful Customer Reviews

34 of 35 people found the following review helpful:

3.0 out of 5 stars The Decadence of Expressionism?, April 27, 2008

By	Luca Graziuso (NYC) - See all my reviews

The motion picture "Klimt" by the vangardist director Raul Ruiz is a nonchalantly descriptive allegory of the art of Klimt more so than a purist's biopic. The resonant lyricism of the cinematography has an appeal of its own, but the movie suffers from a neurosis of sober surrealism rather than the decadent Viennese indomitable foray of which Klimt is a patriarch. We see Egon Schiele as a flaky genius who revered Gustav Klimt while swirled within a psychotic dispondancy outlined by art critics and a clinical practice where Klimt was receiving treatment for Syphilis. The movie is staged well and creatively portrayed but the artistic intentions of the director become entangled in a state of overindulgence where the fictive recreation of Klimt's last and most productive years are saturated by a prosthetic expressionism that overwhelms the designs of the creators. The farrago of jaded models and Jewish paramours stands to make of the eroticism of the painter into a detached grandiloquence he carelessly stands ceremony upon while critics insinuate and frame to their liking and in consonance with a theoretical/moral decrepitude well on its way. John Malkovich overcompensated for the duldrums of an era and the unaffected delirium that he chances to become a spectator of instead of a victim to. The importunity of such a representation are deserving merit but fail to characterize the passion and zeal of a master who changed the art scene. No reference to influences are made and no epiphanies are ever sallied through the movie. The rhythm is decadent and the mood ominous, but of such talents and expertise we were well aware and even used to when it comes to Ruiz. If Klimt was a precursor to surrealism is a topic for art historians and critics which the movie does its best to undress, but to depict a representative time capsule of an artist and his times in such a fashion neither entertains nor proves insightful. "Klimt" is devoid of both the hypnotism and the opulence of the expressive decadence that is a trademark of the painter's style. The promising pronouncements of this piece are debilitated by a bouquet of inadequate metaphors where decay and derangement seem to speak the same language but cannot communicate with adequacy.

22 of 29 people found the following review helpful:

1.0 out of 5 stars Pretentious, Annoying, Inaccurate Garbage, January 11, 2008

By	B. Stockwell (San Francisco, California United States) - See all my reviews (REAL NAME)

This is a very VERY bad film and Dee J. probably didn't even watch it. Klimt was Austrian, not German, okay? He lived in Vienna, Austria. To paraphrase from a review from the Columbus Dispatch, the film sheds little light on the artist. It's the kind of film that gives Art House films a bad name. There isn't much of a plot, just a series of generally bizarre incidents in which Klimt meets potential models, patrons, family and others. He treats them with indifference and contempt, just as they do him. The real Klimt was famous for his reticence and generosity. The film shows him in situations that never happened and with people he never met. Klimt is depicted dying of syphilis. In reality, Klimt suffered a stroke and succumbed to influenza. Malkovich looks good but doesn't do much. He lacks much expression or emotion, but he does LOOK a little like Klimt. So what? He's actually pretty annoying and vapid. Much like the film. If you're wondering why this film went straight to video, read any online reviews. Steer clear of this one. It's gold-leafed pseudo-Artistic drivel.

8 of 10 people found the following review helpful:

3.0 out of 5 stars "You're In Here, But Outside Of Reality", January 19, 2008

By	Brian E. Erland "Rainbow Sphinx" (Brea, CA - USA) - See all my reviews (TOP 500 REVIEWER)    (REAL NAME)

What are the last thoughts, images and emotions one dwells upon before exhaling their last breath and leave their mortal coil? This is the approach taken by writer/director Raul Ruiz in his biographical film about the Austrian painter Gustav Klimt. As he lays comatose in a hospital bed the story of his life unfolds in disjointed, near hallucinogenic sequences.

The audience is moved swiftly from the dying artists' bedside caught up in his feverish visions. Join him at art exhibitions, social events with the rich and famous, painting while surrounded by numerous nude models in his studio, pleasuring himself at a local brothel or gazing through the lens of a microscope at the hospital. Surely Klimt was a man with a lot on his plate.

Recently released in '06, `Klimt definitely falls into the category of an art house film. While I have to award the production high marks on its original and unorthodox approach to the storyline and its ability to underscore the mundane events pictured with an illusory feel that fits perfectly with what one might expect from the mind of the dying artist I must admit that I found the film overall unsatisfying.

Atmosphere can only hold your attention for so long and then one begins to expect something more which this film never delivers. In my opinion there was no attempt to establish some level of personal attachment to any of the characters, no plot surprises, nor any peak moments to re-involve the audience in the story. For me one viewing was definitely enough.