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 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 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 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.

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 ?

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.

Filmed entirely using natural lighting, the film Paganini is an honest attempt by writer/director/actor Klaus Kinski to portray the life of the legendary violinist. Some of the scenes filmed indoors, particularly in the theater have an eerie surreal feel to it, much to Kinski's foresight to film it without any electrical lighting and often using only candle light for illumination. I've read Kinski's autobiography. The parallels between the two (Kinski and Paganini) are eerie and more than coincidental. Both obsessed over young girls; the younger the better. Both were and are considered to be geniuses in their respective fields. Both gave impassioned performances to the point of being referred to as being "demonic" in nature. Both made enormous sums of money, but inevitably squandered it away. And both had young sons late in life whom they absolutely and without doubt, worshipped. Originally Klaus had presented this film as a very long 3 hour plus movie. It would have been interesting to see exactly what he had in mind if this version had ever been released, but alas, producers only allowed a very sparse 82 minute cut version of what Klaus Kinski described to be the work of his life. It really is too bad that the original longer version isn't available. After viewing this film one is left with a very unfulfilled and empty feeling. Too often, there is little character development within Nicolo Paganini's aquaintances and conquests. In particular an affair with a member of a royal family. While this film outwardly appears to be little more than a tawdry, lewd effort on Kinski's part, it more importantly portrays Paganini as a suffering shell of a human being; never satisfied with anything and all too often left unsatiated, unfulfilled, and all too often, spiritually dead The film has a remarkable soundtrack thanks to the efforts of virtuoso violinist Salvatore Accardo. It also features performances by Kinski's lolita wife, Deborah Caprioglio Kinski and his son Nikolai "Nanhoi" Kinski, who both perform their roles admirably. This is a definite "must see" movie, regardless of whether or not you are a fan of Klaus Kinski. Sadly, it is the last film he ever made.