Kinski Paganini (1989)
Paganini (1989)
Theatrical version + Director's Cut
2xDVD9 | VIDEO_TS | PAL 4:3 | Cover | 01:20:31 + 01:34:16 | 6,41 Gb + 6,64 Gb
Audio: English, Italian, French - AC3 2.0 @ 224 Kbps (each track) | Subtitles: German
Genre: Art-house
Theatrical version + Director's Cut
2xDVD9 | VIDEO_TS | PAL 4:3 | Cover | 01:20:31 + 01:34:16 | 6,41 Gb + 6,64 Gb
Audio: English, Italian, French - AC3 2.0 @ 224 Kbps (each track) | Subtitles: German
Genre: Art-house
Director: Klaus Kinski
Klaus Kinski believed that he lived through the same experiences as the legendary "devil violinist" Niccolo Paganini, who set all of nineteenth-century Europe into a frenzy and through whose personality Kinski offers an incredibly profound and honest insight into his own life; a life of extremities.
Note! Disc Two - Director's Cut - has English audiotrack only w/o any subs!IMDB
Wikipedia
Nitrate Online
Note! First five screenshots made from Director's Cut; Next ones from remastered Theatrical version.
I am not the Jesus of the official church who the police, bankers, judges, hangmen, officers, church bosses and other powerful people tolerate. I am not your Superstar.Klaus Kinski
Kinski Paganini (1989)
Is there too much Kinski in Kinski Paganini? Is it overwrought? overdramatic? absurd? Sure. But when the man writes, directs, and assumes the title role, we must enter the dining hall with a gluttony for Kinski. It is our sin, as much as his.
Kinski Paganini (1989)
Klaus Kinski's final film in which he wrote, directed and starred in. A biopic of sorts portraying the life and career of virtuoso violinist Niccolo Paganini. While this is a biopic (for lack of a better categorisation) it is one completely unlike any you have likely seen before. The film is not overly concerned with telling a story. This film is more concerned with symbolism, and exploring the character (both the man's myth, and what his life was probably actually like.) As a result this film can at times feel dull, but the artistic integrity of the film is undeniable. Instead of a simple narrative the film is more concerned with visuals and how they mesh with the soundtrack (which is almost constant.) There actually isn't even much dialogue, with most of the spoken word being narration, from various characters.
Kinski Paganini (1989)
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For those unfamiliar with the process in which this film was made, it is worth mentioning. Kinski was in failing health when he decided to make this film, and this was really a personal project that he himself had always wanted to make. He saw some parallels between the life of Paganini and himself, and as a result it is apparent that this was just as much an exploration of Kinski's life as that of Paganini. Both men career's and lives were frequently marked by controversy. Paganini was after all deemed a heretic by the church for his sexually excessive private life, which was frowned upon not only for the sheer volume of sexual partners he had, but for his preferences for young woman, sometimes extremely young.
Kinski Paganini (1989)
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Kinski originally had wanted long time collaborator Werner Herzog to direct the film, but Herzog refused as he felt the script was unfilmable. Clearly only Kinski had the vision to film this, and probably only he could have pulled it off. Paganini was a man of extreme lust, and there is a whole lot of sex in this movie. Although it is erotic, it at no time feels pornographic. The camera doesn't linger on specific body parts. In fact the lighting obscures most of the genitalia. This is obviously art, and titillation isn't the main goal. This is obvious from the way it is filmed. Most soft-core films for example wouldn't cut between a women masturbating, and two horses fucking, to hint at the animilastic lust that the man was known and feared for. There is also some very real animal death in this film, so if that bothers you you might want to stay away from this one.
Kinski Paganini (1989)
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While certainly not for all tastes (this is definitely not a biopic in the same vein as Amadeus or Immortal Beloved) viewers who make a point of seeking out original and difficult films should definitely seek this effort out. While I did find it slow, and initially difficult to get into, the artistic merit of this film is undeniable. Adventurous viewers should definently give this one a chance.
Kinski Paganini (1989)
Klaus Kinski, full-time actor and madman, takes on the character of Paganini in this painterly tableau of the artist's obsessions and world.
Kinski Paganini (1989)
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Kinski assumes the role of star, director, occasional cameraman and places family members in prominent parts. The film is heavy on symbolism and sparse in the storytelling department. It is basically a series of meditations and the artist at rest before he goes on rampages of sex, as frenetic as his violin playing. The film is full of often beautiful photography (mostly using natural light or candles) and the distorted vision of the period comes to life in a staggering way. In terms of narrative, it is a complete fiasco, but Kinski does not give a damn about the story. He cares about the character and the moment. As such, character and moment are as intense and vibrant as any Kinski performance.
Kinski Paganini (1989)
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Kinski as an actor always seemed to burn through the screen. This film is 100% Kinski. Therefore, predictably, it is completely overwhelming, unbearable one might say, even if one overlooks the manic sex scenes (a heroic feat): a woman touches herself to the sound of Paganini's playing, while horses fornicate; the camera whirls savagely about as Paganini dives hungrily into an admirer's skirt, etc. Frankly these scenes would be out of place in any other movie. What unsettles here is the fact that they seem entirely at home in this crazed psychopath of a film.
Kinski Paganini (1989)
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Kinski Paganini is impossible to rate. You will very likely hate it (all the more so if you see it in the company of other people). As a window into Klaus Kinski's mind, it is essential. And, since it is a completely personal work featuring the creator's obsessions and themes, under his complete control, it fits the dictionary definition of art. Art is in the eye of the beholder (so no one need feel personally insulted), and for better or worse, this is one of the rare times I have seen its kind on a screen. You get it or you don't, and on a visceral level since narrative or sense is not the issue (in fact the only similar film is Luis Bunuel's "Un Chien Andalou", where you just follow a train of thought…).
A train-wreck of a film. Filmed with bewildering sensitivity and and fueled by intimidating passion, this is the cinematic expression of a man's soul.IMDB Reviewer,
33 out of 35 people found this review useful
Kinski Paganini (1989)
Klaus Kinski is one of the true enigmas of cinema. Although famous for his wild mood swings and temprament, many of the directors he worked with said that he posed no problems at all - it often seems that Kinski only threw his tantrums when he knew that he could get away with it and not get fired from a production. Strangely he often seemed drawn towards exploitation films, and often boasted of turning down offers of work from Fellini, Pasolini and Ken Russel because the money was poor - yet Werner Herzog points out that his films often paid even less. The most tantalising production of Kinski was not a film, but his autobiography All I Need is Love - a pornographic detailing of his encounters with hundreds of women, including a variety of famous actresses, it is believed to be amost entirely fictional. Herzog, whom Kinski apparently consulted during the writing, says that the actor was afraid a simple autobiography would be overlooked by most people and so he wanted something that would create a stir and get attention. At the same time it seems to tell of the life Kinski wished he had lived, his middle class upbringing replaced by extreme poverty, and his life filled with adventures and risks and a lot of sex.
Kinski Paganini (1989)
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Ultimately Klaus Kinski will remain a mystery, but he has left an indisputable legacy of powerful performances in films ranging from cheap exploitation to pure art, that always seem to steal the scenes and dominate the movie, no matter how small they are.
Kinski Paganini (1989)
Special Features:
DISC ONE:
- The Film (Theatrical Version)
- Interview (in German) with Kinski expert Andreas Baron Freytag von Loringhoven (40:26)
- Photo Gallery
- Original Trailer
DISC TWO:
- The Film - English audio only w/o any subs (Director’s Cut)
- Deleted and Extended Scenes (50:28)
- Making-of "Paganini" (Mixed languages with German subs, 53:08)
- Cannes Press Conference (In French with German subs, 04:51)
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