Paganini Blu-ray Movie

Rating summary

Movie		1.0
Video		4.0
Audio		4.0
Extras		5.0
Overall		4.0

Paganini Blu-ray Movie Review

Reviewed by Brian Orndorf June 1, 2024

As an actor, Klaus Kinski received accolades for his work, using his natural connection to psychological instability to inform his characterizations, often portraying men on the edge of sanity. He passed away in 1991, and with death comes some form of truth, permitting collaborators and family to step forward and detail his vicious, predatory behavior towards others. “Paganini” is Kinski’s final film, taking directorial control of the picture, which creates a hazy portrait of the virtuoso violinist’s life and obsessions, and it’s a weirdly perfect way to sum up Kinski’s severity as a man and artist. “Paganini” is a mess and an uncomfortable watch, with Kinski using his position of power to detail the madness of the musician, which extends to a few forms of violence that often don’t feel like acting. Kinski tries to get lost in the part, but his own urges often dominate the endeavor, which is more of a vanity project than an honest study of a preternaturally talented and disturbed individual.

There’s no story to follow in “Paganini.” Kinski has little use for drama, instead focusing on the buzzing energy the violinist, including an introductory performance sequence where his playing inspires a sexual response from the females in the audience. There’s a lot of crotch-grabbing in the picture (and not always consensual, according to interviews) and plenty of fury from Kinski, who isn’t really giving a performance, electing to go hyperactive instead, working to push Paganini out of his pores. It’s ridiculous work, but this is an absurd movie, and one that only offers bits and pieces of Paganini’s life, including his love for underage women. He finds such a prospect in Antonia (Deborah Caprioglio), who tolerates his fear of poverty, possible past as a murderer, and distaste for faithfulness. There’s no understanding of this relationship, or really anything in “Paganini,” which is mostly driven by its violin-heavy score and complete attention to the debatable wonders of Kinski’s screen presence.

Paganini Blu-ray Movie, Video Quality 

The AVC encoded image (1.67:1 aspect ratio) presentation is listed as "newly scanned and restored in 2K from its 35mm original camera negative." The source does have its moments of damage, with wear and tear noticeable during the viewing experience. Detail reaches as far as possible with the dimly lit endeavor, capturing the age of the actors and some skin particulars. Interiors retain textures with concert appearances and living spaces, and exteriors handle with decent dimension. Colors explore period costuming, securing brighter primaries on female outfits, while males favor darker hues. Greenery is distinct. Candles illuminate a good portion of "Paganini," leaving a yellowish glow for some parts of the feature. Delineation is satisfactory. Grain is heavy but film-like.

Paganini Blu-ray Movie, Audio Quality 

There are Italian and English Dub options for "Paganini," and both are similar in sound. The 2.0 DTS-HD MA tracks handle dubbed dialogue with clarity, capturing heated exchanges and whispered thoughts. Scoring is the big show here, as violin performances dominate the picture. Instrumentation is agreeable, with a defined string sound.

Paganini Blu-ray Movie, Special Features and Extras 

• Commentary features film historians Eugenio Ercolani and Troy Howarth.

• Director's Cut (94:13, SD) is sourced from tape.

• "My Life with Kinski" (16:18, HD) is an audio interview with actress Deborah Caprioglio, who details her three-year-long relationship with Klaus Kinski, almost sharing the man with producer Augusto Caminito, who understood how to control the volatile actor. Meeting Kinski as an 18-year-old woman, the interviewee recalls her nervousness around him, with the pair making a few pictures during their time together. Some memories of "Paganini" are shared, but Caprioglio mostly focuses on Kinski's behavior and lifestyle around the time of production, and her own career, including the starring role in Tinto Brass's "Paprika."

• "The Devil's Left Hand" (29:50, HD) is an interview with music consultant/violinist Salvatore Accardo, who recalls his youthful pursuit of musical ability, quickly drawn to the work of Paganini. Some musical appreciation is offered by the interviewee, who eventually makes his way to a discussion of "Paganini." Hired by the producer to work on the feature, Accardo was confronted by the blistering passions of star Klaus Kinski, who initially believed he was the reincarnated spirit of Paganini, only to flounder when trying to play the violin. Accardo identifies Paganini's love of girls, hinting that this was a major reason why Kinski pursued the project. Accardo's creative input is identified, and he shares his observations of Kinski on and off the set.

• "The Voice of Madness" (26:02, HD) is an interview with soundman Luciano Muratori, who joined the film industry via his father, Primiano, who brought the boy along with him during his own production experiences. Muratori accepted jobs on a handful of Klaus Kinski endeavors, understanding the actor's volatile nature, sharing a few anecdotes concerning his tremendously nasty ways during the making of "Vampire in Venice." Talk turns to "Paganini," and Kinski is no better, prone to violent fits and moviemaking idiocy, also acting strangely around actress Deborah Caprioglio.

• "Aiming at the Director" (28:53, HD) is an interview with unit manager Stefano Spadoni, who openly admits his contempt for the moviemaking experience, refusing to even see "Paganini." The interview examines the "nightmare" shoot, with Klaus Kinski a terror, unwilling to stick with any schedule, and he was fond of destroying plastic mirrors, believing "a mirror had a right to see his image only once." Tensions escalated throughout the making of "Paganini," resulting in a physical altercation between Kinski and Spadoni. Turns out, such contempt for the actor runs in the family, with the interviewee offering an amusing coda to the Kinski experience.

• "How to Kill a Producer" (30:38, HD) is an appreciation piece from film historian Eugenio Ercolani.

• Behind-The-Scenes Footage (52:17, SD) is a fairly wild journey into filmmaking with Klaus Kinski, who's initially viewed working out an oral sex scene with Deborah Caprioglio, and she's clearly not wearing protection. The rest of the footage studies Kinski in action, going bonkers as he conveys his vision to cast and crew, even operating the camera himself to make sure the intensity of the moment is properly captured.

• "1988 Cannes Press Conference" (4:51, SD) offers a look at Kinski in promotional mode, sharing news that deleted sex scenes from "Paganini" are "the most intense in the history of cinema," eventually boiling with rage when the picture isn't actually shown at the film festival. The action quickly heads over to the beach for a photo session with co-star Deborah Caprioglio.

• English Opening Titles and End Credits (8:22, HD) are offered.

• And a Theatrical Trailer (1:56, SD) is included.

Paganini Blu-ray Movie, Overall Score and Recommendation 

Kinski spends most of "Paganini" furiously working the violin (the lack of authenticity to his playing isn't the point of the movie), walking around, and heatedly pawing at co-stars, taking time to detail sexual assaults, which are generally identified in the feature as "passion." Paganini's son (Nikolai Kinski) plays a major part in the film's second half, but this relationship is also ill-defined, reduced to staring contests and emotional outbursts. Not helping the endeavor's cause is terrible cinematography, offering underlit visuals and sloppy handheld work, while the picture's pursuit of "artfulness" is always indulgent. There's nothing to learn about Paganini in "Paganini," but there's a lot understood about Klaus Kinski and his fascination with himself.