Paganini (1990)

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

I have absolutely never seen anything like this movie before. You have to see this movie.

Not sure how, but this is easily one of the best movies all summer. Multiple levels of funny, never takes itself seriously, super colorful, and creative.

Blistering performances.

This is not an easy film to watch and, unless you're a fan of Klaus Kinsk, Independent film and/or the music and story of Nicolai Paganini be warned: this film definitely isn't for everybody.I have watched almost every movie Kinski has ever starred in: from the early Edgar Wallace films, to the Spaghetti Westerns, the many, many B- and C-grade quickies he appeared in, and still consider his works with director Werner Herzog among my favourite films. The last 'new' movie with Kinski I saw was "Paganini", his final film. Not an easy film to find or to watch and, to one level, the (often) devastating reviews being true: a mess of a movie, almost unwatchable due to the natural light, Kinskis refusal of filming a straight storyline, the odd editing, (seemingly) random, un-simulated sex-scenes, etc.We've seen Kinski perform "Paganini" before; not the actual role, but the character which the actor bestows upon the violinist: there have been traces of Paganini in "Fruits of Passion", where he plays a character that is similarly haunted by his own satyr-like sexuality. The last time was in "Cobra Verde", Kinskis second-to-last film. "Cobra Verde" had complained that Kinski had turned the character of Cobra Verde into something that was more Paganini.Speaking of Werner Herzog: in the documentary "My Best Fiend", the director commented, that, during the filming of "Cobra Verde", he felt that Kinski was at the end of his road and that Kinski himself had remarked: "I no longer exist". Even though his performance in "Paganini" carries all the trademarks of a Kinski-performance – manic, passionate, filling the screen with his presence – it is sad to say, that Herzog was probably correct. We cannot help but feel that we're watching a dying man; not just because Paganini himself is on the brink of death, but because Kinski had already spent most of his life-force.Well, first off, Klaus Kinski, the director, is no Werner Herzog, but to say that Kinskis is as bad a director as Herzog is an actor, would be a little unfair. Kinski had worked with the best and Kinski had learned from the best, but his unwillingness to compromise his vision of the film, makes "Paganini" one man's piece of art – not an artful movie.It makes one wonder, what this film could have looked like, had it been directed by a "professional": Werner Herzog (who was offered the directors seat but refused), or Stanley Kubrick, for example. As it remains, it's an interesting, even though deeply flawed film.I wish I could give this film at least 8 points out of 10 – but no, that would be pseudo-intellectual and more befitting a Klaus Kinski fanboy, so I'll have to give it, what it deserves: five points is all I can give.

The tagline is not referring to the (too) many flairs in this film. This is not a film, but a myriad. Not unlike Tarkovsky's 'Mirror', the storyline is labyrinthic. In 'Paganini' we are plunged into the flow of life as seen just before dying, and within the flashbacks there are memories.Son Achille, superbly played by son Nikolai Kinksi (without any hint of the lingual barriers that he must have experienced while shooting this demanding role; check out his role in 'Tortilla Soup', the Ang Lee goes Latin comedy where he plays very nicely a ... Brazilian.) watches the struggle of his father, adding his own reminiscence to the story.Fragmented though it may be, this is a romantic tale, grand & tragic, told with passion and devotion. It took Klaus Kinski 20 years to create his heart's desire. So, I reckon, there are not many "mistakes", "loose ends", "murkiness" or "shabby editing" here. My guess is that all we see is well thought of (referring to the 'version originale' of Kinski himself, as to be seen on the German double disc DVD -with Italian, English & German dubs-, which shows besides loads of exciting extras both the Maestro's version as the producer's vulgarity). It is too easy to criticize. Who understood 'The Mirror' after a few viewings only ?Kinski of course is no Tarkovsky. He is Maestro Klaus, and very probable the reincarnation of Paganini. But his Magnus Epos is not just an homage. It is even more than his life quest. Although Papa Klaus is omnipresent & inescapable, the torch is held by his son. Which makes KK a link between past & future. And that is truly amazing. Mr. Kinski, miracle-man.PS:The story within the story of this story has not finished yet. Maybe one day someone close to the heart and mind of Klaus Kinski will dare and cut a 2hour-version of 'Paganini'. Maybe Mr. Nikolai ?

Anything that Klaus Kinski is in is interesting but the only film that he directed is a compelling abortion! No pacing, lousy editing, mangled dubbing and female admirers screaming to have sex with Paganini. I heard that this was suppose to be a mini-series but the studio was so ashamed of it they edited down to a 90 minute film. Kinski has his girlfriend or wife and his son in it. In fact, his son did an okay job. I'm not sure what Kinski wanted to say here or how he expected the audience to react but it really is an incomprehensible mess. But a fascinating one to watch!

In this movie, Kinski gives his last great performance as the 19th century italian violin virtuoso Nicolo Paganini. People even say that Kinski is his reincarnation. At least, what we can say is that Kinski adopted the violin player's lifestyle. Paganini, in his time, was considered the first "rock star" even though rock wasn't even invented yet because he lived a life saturated with late parties, orgies and sexcapades of all kinds. No moral law, Carpe Diem all the way! Kinski was working on this project since the early 1970s. It was his little baby. And even though its narration is without any narration, with no genuinelike biographical anecdotes, its incoherent editing illustrates with wit, passion and violence what the murky worlds of Paganini and Kinski were all about. But beware, sensible people should pass this one.