Director/Screenwriter: Raúl Ruiz
By Marilyn Ferdinand
The world of cinema was shocked by the not-unexpected, but relatively premature death of Chilean-born filmmaker Raúl Ruiz on Friday. The 70-year-old director was known for his parodic approach to film styles, his lush canvasses, his sometimes overstuffed plots, and his extremely fecund output. For those seeking a deep dive into this complicated, experimental filmmaker, I recommend this survey/memoir by Jonathan Rosenbaum for starters and a date to view his Mysteries of Lisbon (2010), which has started to show in the United States and likely will be booked in more venues in tribute. As a Ruiz novice, I will try to honor his legacy as best I can with a review of Klimt, one of his more recent and accessible films, and a style of biopic more filmmakers should adopt.
Ruiz takes an ingeniously elliptical approach to film biography, one that puts the spirit of artist Gustav Klimt and fin-de-siècle Austria at the forefront as it drops the details of his life almost subliminally into our consciousness. As such, the film does something that is nearly impossible to do—find a channel, however speculative, into the creative process itself.
The film opens with Klimt’s protege Egon Schiele (Nikolai Kinski) going to visit Klimt (John Malkovich) as he lays dying in a bath. The doctor greets Schiele by swinging a skeleton in front of him and pointing out the various bones that comprise it, each from a different donor, all of different nationalities. Schiele comments that while there may be a scarcity of many things, there is no shortage of dead bodies. Klimt died of syphilis February 6, 1918, a few months before the “cure” for all war, World War I, formally ended. Klimt was treated with mercury, the standard remedy of the time and a poison that may have hastened his death and one that did not save him from the madness that accompanies advanced syphilis. Thus, the parallels Ruiz sets up between Klimt’s private disintegration, delusions, and madness and those of Europe at this time are established. Klimt’s mental free-fall through his life comprises the rest of the film.
Klimt’s life could be a template for the stereotypical successful Artist. He was a sensualist who bedded many women and fathered many children out of wedlock, who enraged the art establishment while still enjoying great popularity. We meet him in memory first in his studio, as three naked models move above his head on swings of cloth and another lays down on a bed in the background. Klimt ignores all of them as he pours water on a square of glass to examine the images it creates. He dismisses the models. The one on the bed remains. He says, “What about you?” She answers provocatively, “What about me?” Malkovich lets virtually nothing cross his face to indicate his state of mind, though perhaps the tiniest of smirks does escape by the end of the scene; it’s a bold choice, to keep Klimt in the state of sexual abstraction he must have needed to do his work when faced with an off-hours temptation.
This containment marks much of Malkovich’s performance, even in scenes where he declares his ardent love for an actress (Saffron Burrows) who plays dancer Lea de Castro (Georgia Reeve) in a short film by Georges Méliès (Gunther Gillian). Their embrace is one of the more awkward in film history, though Brown is wonderfully natural in her nakedness considering that her character is being watched from behind a two-way mirror by the real Lea to see how Klimt behaves. The fracturing of personality, the real and the false fronts, the interchangeability of human beings as seen in the mix-and-match skeleton in the first scene, all are preoccupations of both Ruiz and the Klimt he has written. Indeed, any representational artist is faced with how his or her creations poach from many sources and create illusions that are, nonetheless, physically real and real experiences for those who take them in.
Ruiz’s hallucinatory touches are inspired. Klimt’s long-time companion Emilie Flöge (Veronica Ferres), called Midi here, quarrels with him in his studio while he is applying gilding to a painting. Suddenly, her lips are gilded as well, an incarnate inspiration that Klimt would transfer to his canvas. When she slams the door to his studio, she blows the small squares of gilding into the air, sending Klimt, childlike, chasing after them to catch them on his brush. His cat starts mewling, and Klimt comes face to face with the Secretary (Stephen Dillane), a government functionary who becomes Klimt’s projected guide through his life and desires and, finally, his death. The Secretary, though sympathetic to Klimt’s art, seems to contradict Klimt’s outsider stance as part of the Vienna Secession, and suggest that his life was a function of bureaucratic manipulation.
Ruiz isolates the artistic claptrap of the day in a wonderful scene in a Vienna coffee house. A waiter takes orders from some of the patrons, calling their names and having them respond “as usual.” Klimt is dining with a friend who gives him the lay of the land of the different artistic schools of thought. A camera tracks around them, the background spinning one way, and Klimt and his friend spinning in the opposing direction, suggesting Klimt’s contrarian state of mind and bringing a liveliness to the Viennese art scene that ends with Klimt pushing a cake into a rival’s face.
The proper Viennese bourgeoisie, represented by Klimt’s mother (Annemarie Düringer) and sister (Marion Mitterhammer), are placed in a cool, utilitarian setting. His mother scolds him for his many illegitimate children, and his sister insinuates something unnatural about him for choosing only Jewesses to bear his children: “I didn’t make it up, I read it in the paper.” Klimt retorts, “You didn’t have to make it up because the papers already did it for you.” The poisonous atmosphere that would later engulf Austria gets a brief, but effective airing, but so do the distortions of media about celebrities, a very modern concern.
Apparently, no expense was spared in putting this film together. The costumes and sets are utterly sumptuous, and artists were brought in to recreate the scandal-inducing paintings Klimt produced for the University of Vienna that were destroyed in a fire in 1945, as well as a fictitious portrait of Lea and various Klimt canvasses in different stages of completion. Little is known about Klimt’s life, so the decadence of the times is brought to bear on his womanizing reputation while creating an atmosphere that helps the viewer sense the forces that influenced his sensual art. For example, Klimt goes to the Moustache brothel, where gentlemen play games in various rooms—Klimt is locked in a cage wearing a gorilla head in the African room—before going off with one or more of the moustachioed whores.
The anteroom of Klimt’s death is filled with the atmosphere of his life—the ever-present Viennese snow, stuffed cats, a bare-bones studio, and doors opening onto different paths. I hope Ruiz’s anteroom was just as inviting.