Saturday Night At The Movies

Divine Trash, Hidden Jewels-Part 2: Klaus Kinski

By Dennis Hartley

This week I am continuing a new series that I am posting on occasion, which will put the spotlight on some films you may have missed, and that your humble reviewer thinks are worth the search and a peek on a slow night. Hope you enjoy!

Klaus Kinski is best-remembered for his mercurial collaborations with director Werner Herzog (the infamous love-hate dynamic between the two artists has been duly noted, in Herzog’s own documentary “My Best Fiend” and Les Blank’s legendary “Burden of Dreams”) but this week I am featuring a pair of lesser-known films in the actor’s resume.

First up, a movie that definitely falls into the “divine trash” category-director Jess Franco’s 1969 gothic horror-psychedelic-sexploitation fest “Venus in Furs” (aka “Paroxismus”). This visually rich mash-up of “Carnival of Souls” and “Blow Up” is a little light on plot but heavy on atmosphere.

Maria Rohm portrays a mysterious siren who pops into a nightclub one foggy night, and stirs the loins of a brooding jazz trumpeter (played with a perpetually puzzled expression by James “Moondoggie” Darren). Temporarily forgetting that he has a girlfriend (Barbara McNair), Darren follows Rohm to the back room of a mansion, just in time to witness her ritualistic, sadomasochistic demise at the hands of a decadent playboy (played to the hilt by our man Klaus) and several of his kinky socialite friends. Some time later (timelines are a bit nebulous; one assumes by design) Darren is playing his trumpet on the beach, where Rohm’s body is seen washing ashore (you following this so far?). Next thing we know, she has miraculously “revived” and sets out to wreak revenge on her tormentors (“Kill Bill”, anyone?), in between torrid love scenes with Darren. Or does she (and her “killers”) actually exist, outside of Darren’s mind? I’ve always wondered if this element of the film was an inspiration (well, partial, at least) for Kubrick’s “Eyes Wide Shut”.

“Venus in Furs” was allegedly inspired by a conversation the director once had with the tragically doomed trumpeter Chet Baker (which would make this film a fascinating double bill with the haunting 1988 Baker documentary “Let’s Get Lost”, if only it were in print, dammit). Manfred Mann and his band supply a surprisingly accomplished jazz score (involving slightly more complex arrangements than, say, “Do Wah Diddy”). James Darren actually played his own solos in the film; he apparently started in show biz as a trumpet player (!) The Blue Underground DVD adds some interesting present-day interviews with Franco and actress Maria Rohm.

Klaus Kinski has more of a featured role in my next selection, a little-seen but worthwhile low-budget sci-fi offering from the Roger Corman stable called “Android”.

Kinski portrays a Dr. Frankenstein of sorts, living alone on a space station with his “homemade” manservant, an android named Max. Max is played in a quirky, endearing fashion by Don Opper (who also scripted). When Max innocently overhears that the good doctor is planning to dismantle him so that he can focus on perfecting his next generation model (a female), he begins “acting out”, much to Kinski’s chagrin. Complicating matters are three escaped felons who handily con the naïve Max into giving them safe haven on the station. Some fairly suspenseful intrigue ensues, with a few good twists.

“Metropolis ” is the most obvious touchstone here, but observant sci-fi buffs may detect echoes of “Silent Running” and “Blade Runner”. Beware the packaging blurbs on Anchor Bay’s DVD edition that bill this as a wacky comedy. There are comic moments, (some unintentional, mostly stemming from Kinski’s generally hammy performance), but there is enough menacing violence to qualify the film as more of a “dramedy”.

Barely screened as a theatrical release in 1982, and only recently available on DVD, “Android ” is one of those films that has slowly picked up a cult following, mostly via the odd 3am cable showing over the years. As the director and writer point out in the DVD commentary, if this film had been released in today’s more “indie-friendly” environment, it undoubtedly would have enjoyed more mileage. Check it out!

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