Nastassja Kinski
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Pic from www.nastassja-kinski.jp
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Klaus Kinski
I had to include a section her father Klaus Kinski because he absolutely fascinates me and must have contributed to how Nastassja was.
He is one of the most extraordinary actors of the 20th Century and his collaborations with director Werner Herzog ( including Fitzcarraldo, Aguirre:The Wrath of God and Nosferatu) are now recognised as masterpieces of European cinema.
Many descrube him as a crazy genius, he could convey such intensity on-screen and was a perfectionist which often meant he was constantly as logger-heads with Werner Herzog, who described him as "an outright egomaniac" and once said, "People like Brando are just kindergarten compared to Kinski."
Kinski was an extremely volatile man and on one infamous occasion Kinski hurled a lit candelabra from the stage at an audience deemed insufficiently appreciative, almost burning the theatre down. On another, whilst filming Aguirre: The Wrath of God, irritated by the noise from a hut where cast and crew were playing cards, Kinski fired three shots at it, blowing the top joint off one extra's finger. He was often seen as a sex-maniac as well and he alienated his family with claims of incest with his sister.
He has such a magnetic charisma I feel, in part through his arousal of fear and danger. He reminds me of an 18th century Romantic composer, like Lizst. Don't know why.
I included some images of him (that unique face and intense eyes) from www.hank-dust.com, www.kinomag.ru and www.tuxamoon.de
I had to include a section her father Klaus Kinski because he absolutely fascinates me and must have contributed to how Nastassja was.
He is one of the most extraordinary actors of the 20th Century and his collaborations with director Werner Herzog ( including Fitzcarraldo, Aguirre:The Wrath of God and Nosferatu) are now recognised as masterpieces of European cinema.
Many descrube him as a crazy genius, he could convey such intensity on-screen and was a perfectionist which often meant he was constantly as logger-heads with Werner Herzog, who described him as "an outright egomaniac" and once said, "People like Brando are just kindergarten compared to Kinski."
Kinski was an extremely volatile man and on one infamous occasion Kinski hurled a lit candelabra from the stage at an audience deemed insufficiently appreciative, almost burning the theatre down. On another, whilst filming Aguirre: The Wrath of God, irritated by the noise from a hut where cast and crew were playing cards, Kinski fired three shots at it, blowing the top joint off one extra's finger. He was often seen as a sex-maniac as well and he alienated his family with claims of incest with his sister.
He has such a magnetic charisma I feel, in part through his arousal of fear and danger. He reminds me of an 18th century Romantic composer, like Lizst. Don't know why.
I included some images of him (that unique face and intense eyes) from www.hank-dust.com, www.kinomag.ru and www.tuxamoon.de
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More images from www.nastassja-kinski.jp
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MulletProof
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i love herzog. and aguirre!, i think i never did the associations of both last names, i figured they were perhaps too common to be related. 
thank you for bringing that in!.
thank you for bringing that in!.
Sonja Leila Moussa
Born in 1986, Sonja is the daughter of Nastassja and Ibrahim Moussa.
She's a model and I believe is pursuing an acting career.
She certainly has inherited her mother's smouldering looks.
Photos from www.nastassja-kinski.jp and www.starfileonline.com
Born in 1986, Sonja is the daughter of Nastassja and Ibrahim Moussa.
She's a model and I believe is pursuing an acting career.
She certainly has inherited her mother's smouldering looks.
Photos from www.nastassja-kinski.jp and www.starfileonline.com
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More beautiful pics from http://matsumo-web.hp.infoseek.co.jp
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Paris, Texas by Wim Wenders
If you get a chance to see this film - see it. It's a beautiful, brooding film. Here's a mini trailer.
http://www.youtube.com/watch?v=ZVQRxRbsjvI&search=paris, texas
If you get a chance to see this film - see it. It's a beautiful, brooding film. Here's a mini trailer.
http://www.youtube.com/watch?v=ZVQRxRbsjvI&search=paris, texas
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Daddy's Girl
Here is an article from The Guardian, which I thought was very interesting, some bits have been edited (www.guardian.co.uk).
I took out bits about her film career because that is well documented, but it gives an incredible insight into her relationship with her parents and how it has affected her. It's really quite sad.
What no one can mend is the world they are born into because, of course, a child is powerless. No amount of editing, breaking and mending can usurp the unalterable fact that her father, Klaus Kinski, was mad and that her mother, Ruth Brigitte Kinski, was a child. There were no siblings. "I longed for a brother or a sister. That's why, when I had children, I said, 'Whatever happens, not just one.' My kids will always have each other."
There was no one for her to share the chaos with. As she says, two things then happen: if you are going to survive, you develop skills to cope, and at the same time you carry on longing for someone to protect you. So there is a tension - between vulnerability and strength; submissiveness and assertion; yielding and resistance. What there is, in other words, is the dynamic of eroticism.
Which is exactly what all those films that she made at the end of the 70s and in the early 80s - the films that made her name - were about. The eroticism of victimhood. Roman Polanski's Tess, the ultimate victim martyred for wanting too much. Paul Schrader's Cat People, a woman whose unleashed sexuality confines her to a cage - she turns into a panther, for chrissakes, wildly dangerous, imprisoned for its own good. And, most consummately, in Wim Wenders's Paris, Texas, a woman so beloved by a man that he has to leave her, all but destroys her, turns her into a peep show. A mother who is not allowed to be a mother, but merely an object to be admired.
Beauty endows you with power, but not with the knowledge of how to use it. Nastassja understood this early; she had only to watch her mother. Brigitte was a shopgirl in Berlin, barely 19, "exquisitely beautiful", when Kinski, in his mid-thirties, found her and wooed her. "He made her all sorts of promises. You'll be my little this, my little that, my princess." He put her in a gilded cage, "mansions", surrounded her with fineries, and wouldn't let her out. She wasn't allowed to work, she wasn't permitted to go to the theatre - her passion. "She wasn't even allowed a gardener, because that was a man." Absorbed in Kinski's private theatre, his fantasy - his castle, his princess - she scarcely existed in her own right. As Nastassja says, "She didn't need to think or to do anything. She was a kept woman from the start." And when he left her for someone else, when Nastassja was eight, "that was it for us".
She hasn't spoken to her mother in years, scarcely at all since her children were born. "She has seen them maybe twice, like an acquaintance would see my children. I can't get over that, but I am getting over it." Maybe it's jealousy, she says, that her mother felt supplanted by her children. "My mum didn't want me to get married. She said to me, 'You better not have children.'"
She was never reconciled with her father. Over the years, she saw him only rarely, and towards the end they were not speaking at all. When he died in 1991 from a stroke, there was no regret. "Maybe a minute. No, 30 seconds." She didn't go to his funeral. The last time she had heard from him was when he telephoned to ask her to be in a movie with him. "That's why he contacted me. Business." She doesn't love him. How could she? Imagine, she says - being a father who has never in his whole life done anything right. Who never saw her children. "Not even a picture. That's pitiful, it really is."
And yet her trap is precisely that she is her father's daughter. She is like him in so many ways. Just like him, she erects castle walls, separates out her own reality. Refuses to acknowledge anything that doesn't fit. She won't mention the word death. "It's too sad." She has a list of subjects that are taboo. "I won't be raped into saying something. I don't want to hear about anything bad." When her younger half-brother, her father's son, asked her to talk to him about Klaus, she refused. "My father hurt too many people…"
And, just like her father, she has walked when it suits. The men in her life she seems to relate to not as equals, but in terms of their suitability as paternal figures. Polanski is good: "He was strict with me, but in a good way. He made me feel smart, that I could do things. I loved him, I still do, and I always will." There was categorically no affair, she says, although it has frequently been reported that they were lovers. "There was a flirtation. There could have been a seduction, but there was not. He had respect for me."
Ditto Wenders, a director she has worked with three times: "He was always nice, very calm, steady. He created a family atmosphere. Everything I wanted." And Quincy Jones: "He has been there for us when we needed him." It's not surprising, is it, that she constructs everything around her need? She who was never given anything, who had to make it all up. She scarcely has a history. I asked her at one point what she knew of her parents' backgrounds. "I know next to nothing. I never met anyone. No one ever talked about it." And she didn't ask. What was the point, she says. She didn't want to know. The vein of reality was frail enough. She was just concentrating on hanging on.
Watching her at one point, trying to make her mobile phone work, whacking it to death on the restaurant table, waiters frenziedly running around her, I had a vision of her as the central character in some screwball comedy - the kind of piece you could imagine directed by Hal Hartley or even Woody Allen. Playing herself again. A woman, funny, light-hearted, muddled. A sprite of unreason, a not quite grown-up - or not what one would call a grown-up - at large in the adult world.
Here is an article from The Guardian, which I thought was very interesting, some bits have been edited (www.guardian.co.uk).
I took out bits about her film career because that is well documented, but it gives an incredible insight into her relationship with her parents and how it has affected her. It's really quite sad.
What no one can mend is the world they are born into because, of course, a child is powerless. No amount of editing, breaking and mending can usurp the unalterable fact that her father, Klaus Kinski, was mad and that her mother, Ruth Brigitte Kinski, was a child. There were no siblings. "I longed for a brother or a sister. That's why, when I had children, I said, 'Whatever happens, not just one.' My kids will always have each other."
There was no one for her to share the chaos with. As she says, two things then happen: if you are going to survive, you develop skills to cope, and at the same time you carry on longing for someone to protect you. So there is a tension - between vulnerability and strength; submissiveness and assertion; yielding and resistance. What there is, in other words, is the dynamic of eroticism.
Which is exactly what all those films that she made at the end of the 70s and in the early 80s - the films that made her name - were about. The eroticism of victimhood. Roman Polanski's Tess, the ultimate victim martyred for wanting too much. Paul Schrader's Cat People, a woman whose unleashed sexuality confines her to a cage - she turns into a panther, for chrissakes, wildly dangerous, imprisoned for its own good. And, most consummately, in Wim Wenders's Paris, Texas, a woman so beloved by a man that he has to leave her, all but destroys her, turns her into a peep show. A mother who is not allowed to be a mother, but merely an object to be admired.
Beauty endows you with power, but not with the knowledge of how to use it. Nastassja understood this early; she had only to watch her mother. Brigitte was a shopgirl in Berlin, barely 19, "exquisitely beautiful", when Kinski, in his mid-thirties, found her and wooed her. "He made her all sorts of promises. You'll be my little this, my little that, my princess." He put her in a gilded cage, "mansions", surrounded her with fineries, and wouldn't let her out. She wasn't allowed to work, she wasn't permitted to go to the theatre - her passion. "She wasn't even allowed a gardener, because that was a man." Absorbed in Kinski's private theatre, his fantasy - his castle, his princess - she scarcely existed in her own right. As Nastassja says, "She didn't need to think or to do anything. She was a kept woman from the start." And when he left her for someone else, when Nastassja was eight, "that was it for us".
She hasn't spoken to her mother in years, scarcely at all since her children were born. "She has seen them maybe twice, like an acquaintance would see my children. I can't get over that, but I am getting over it." Maybe it's jealousy, she says, that her mother felt supplanted by her children. "My mum didn't want me to get married. She said to me, 'You better not have children.'"
She was never reconciled with her father. Over the years, she saw him only rarely, and towards the end they were not speaking at all. When he died in 1991 from a stroke, there was no regret. "Maybe a minute. No, 30 seconds." She didn't go to his funeral. The last time she had heard from him was when he telephoned to ask her to be in a movie with him. "That's why he contacted me. Business." She doesn't love him. How could she? Imagine, she says - being a father who has never in his whole life done anything right. Who never saw her children. "Not even a picture. That's pitiful, it really is."
And yet her trap is precisely that she is her father's daughter. She is like him in so many ways. Just like him, she erects castle walls, separates out her own reality. Refuses to acknowledge anything that doesn't fit. She won't mention the word death. "It's too sad." She has a list of subjects that are taboo. "I won't be raped into saying something. I don't want to hear about anything bad." When her younger half-brother, her father's son, asked her to talk to him about Klaus, she refused. "My father hurt too many people…"
And, just like her father, she has walked when it suits. The men in her life she seems to relate to not as equals, but in terms of their suitability as paternal figures. Polanski is good: "He was strict with me, but in a good way. He made me feel smart, that I could do things. I loved him, I still do, and I always will." There was categorically no affair, she says, although it has frequently been reported that they were lovers. "There was a flirtation. There could have been a seduction, but there was not. He had respect for me."
Ditto Wenders, a director she has worked with three times: "He was always nice, very calm, steady. He created a family atmosphere. Everything I wanted." And Quincy Jones: "He has been there for us when we needed him." It's not surprising, is it, that she constructs everything around her need? She who was never given anything, who had to make it all up. She scarcely has a history. I asked her at one point what she knew of her parents' backgrounds. "I know next to nothing. I never met anyone. No one ever talked about it." And she didn't ask. What was the point, she says. She didn't want to know. The vein of reality was frail enough. She was just concentrating on hanging on.
Watching her at one point, trying to make her mobile phone work, whacking it to death on the restaurant table, waiters frenziedly running around her, I had a vision of her as the central character in some screwball comedy - the kind of piece you could imagine directed by Hal Hartley or even Woody Allen. Playing herself again. A woman, funny, light-hearted, muddled. A sprite of unreason, a not quite grown-up - or not what one would call a grown-up - at large in the adult world.
Here are lobby cards from the film Stay the Way You Are with Marcello Mastroianni, which was a flop. Nastassja was only 18 when she appeared in the film.
Images from http://uk.geocities.com
Images from http://uk.geocities.com
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OMG! I'm so excited.
I just found these rare pics of Nastassja when she was little with her mother and father.
Images from www.klaus-kinski.de and www.geocities.com
I just found these rare pics of Nastassja when she was little with her mother and father.Images from www.klaus-kinski.de and www.geocities.com
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Images from http://uk.geocities.com and www.123celebs.net
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Couple of pics from http://celebritiespictures.supereva.com
It would be really nice to hear people's thoughts on Nastassja and any info or pics you may have.
It would be really nice to hear people's thoughts on Nastassja and any info or pics you may have.
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thank you so much karina for this pics! i always thought she was one of the great beauties, whatever that means
the latest film i saw her in was one night stand with wesley snipes and kyle mclachlan. nothing to remember, sadly. on a sidenote these pics make me want to grow out my natural hair colour...
piep said:
Thanks Piep!
It's so great to hear feedback, especially from people who appreciate Nastassja's beauty and acting talent ( we'll forget the late 80's films she made. )On another note, I've always thought that Nastassja had a striking resemblance to the great Ingrid Bergman ( IMO more so than her daughter Isabella Rossellini!
) It's more noticeable in the lips and nose, especially when in profile.Is it just me?
Images from http://web.ukonline.co.uk and www.film-base.de
