In the kaleidoscope of cinematic history, few actors have left such an indelible mark as Udo Kier. His journey from the quaint town of Cologne to the silver screen is a testament to the power of passion, resilience, and a healthy dose of audacity.
Tucked away among a row of vibrant gay bars in downtown Palm Springs, an inconspicuous door leads to a contemporary speakeasy named The Evening Citizen. The interior boasts black walls adorned with dark velvet trimmings, and the lighting is dim, save for a single spotlight above the bar that illuminates a portrait of a man who resembles the devil, Dracula, or Hitler.
Indeed, German actor Udo Kier, whose stern visage adorns various walls, has portrayed each of those monstrous characters, as well as countless other wicked personas throughout his career, which boasts over 200 film credits. Regarding his body of work, he approximates that “approximately 100 films are poor, around 50 can be watched with a glass of wine, and about 50 are excellent.” Can many other actors boast such a high number of quality productions?
Kier recently turned 80 and decided to celebrate with a select few friends at this particular spot. Despite appearing rather menacing or like a sinister mob boss in that photograph, those present (which includes three couples whose weddings he officiated) are well aware of his kind nature – Udo is truly a lovable soul.
He’s somewhat of a self-indulgent star, which is understandable given his status as a cultural icon. After all, who wouldn’t expect such behavior from someone who has worked with a diverse range of artists, including Gus Van Sant, Lars von Trier, Rainer Werner Fassbinder, and even Madonna? (You might remember him as the swinging husband in her provocative 1992 “Sex” book.)
Approximately a decade past, I found myself in Kier’s sphere at the Palm Springs Film Festival. There, the flamboyantly gay actor, known for his bold campiness, is a permanent fixture. He’s not just the epitome of elegance at the gaudy opening night, but a passionate cinephile throughout the festival. Kier has collaborated with directors from all corners of the globe, often favoring international films over Hollywood productions – yet you might remember his striking piercing blue eyes from blockbuster movies like “Armageddon,” “Blade,” and “Ace Ventura: Pet Detective.
Year after year, Kier extends invitations to filmmakers visiting his home – a transformed former public library now boasting minimalist charm. In 2014, I joined him, relishing tales from an insightful underground figure, who vividly remembers interactions with numerous artists of the 20th century, many of whom made a significant impact but ended their careers prematurely. The few survivors are elusive, making his memories even more intriguing.
Kier’s home is a tangible treasure trove, filled with memories from his life spent among the unconventional. His art collection boasts a one-of-a-kind leather jacket designed by Keith Haring, a personal sketch of Kier done by David Hockney, a photograph captured by Robert Mapplethorpe, and every page of Interview magazine signed by Warhol.
Whenever I’m back in town, I always make it a point to visit Kier, who continues to maintain a regular work schedule. His latest ventures include working on “The Secret Agent” under the direction of Kleber Mendonça Filho in Brazil, and traveling to Syria this year for the filming of “OD,” an interactive horror project co-written by Jordan Peele and Hideo Kojima. Given his affinity for taking on challenging roles, it’s no surprise that he’s involved in such daring projects.
In the serene landscapes of Palm Springs, away from the film set, my days are a delightful blend of tending to the garden and hunting for designer ties in local thrift stores. I’m blessed with a charming canine companion named Liza, and a colossal tortoise named Hans who share my days. And let’s not forget Max von Sydow, my life-size plastic equine friend, who graces my ranch in Morongo.
The oasis is known for drawing high-profile celebrities such as Frank Sinatra, Cary Grant, and Marilyn Monroe. These famous figures moved to Palm Springs to escape the spotlight, while Kier thrives on attention, enjoying the dynamic of being a big fish in a small pond, which he doesn’t experience in Los Angeles. When we go out for dinner, if someone recognizes him, I see him switch into high gear, captivating his audience with his charming German accent.
On his 80th birthday, I traveled to the desert for a heart-to-heart conversation with Kier about his extraordinary career. I wanted to discuss how he transformed roles in boundary-pushing Eurotrash films like “Spermula” and “Doctor Jekyll and His Women,” into such an unique collection of works. This remarkable path started during the war in Cologne, where Kier narrowly escaped death when a bomb collapsed the hospital walls around him at a maternity ward.
At the age of sixteen, he encountered Fassbinder (who was a few months younger and new in town) in a working-class bar popular among taxi drivers and cross-dressers. Neither of them had any connection to acting or cinema at that time, and since they were both minors, they were asked to leave by 10 p.m. “Exactly when things started getting interesting!” Kier recalls.
Kier made two trips “back home” last month: one to receive a lifetime achievement award from the Cologne Film Festival, and another for the inauguration of an exhibition showcasing his career milestones at the Kölnischer Kunstverein. The display includes props, posters, and even the iconic sherbert-green costume he wore in “Swan Song.
On its grand opening, the museum showcased two films: “The Wondrous Udo Kier,” a fresh documentary, and “Staging Death,” a 2002 short by Jan Soldat that compiles Udo Kier’s numerous on-screen deaths, including disintegration, dismemberment, and other dramatic exits. “I die 69 times in just 10 minutes,” Kier quips, finding the montage too grim to watch. One advantage of playing so many villains is that they meet their ends spectacularly; for instance, in John Carpenter’s “Cigarette Burns,” he feeds his intestines through a movie projector.
Even more striking, “I am the first on-screen born actor,” claims Kier. However, this isn’t strictly accurate, but no other full-sized actor has made their debut as dramatically as Kier does in von Trier’s “The Kingdom” miniseries. This is just one of the ten collaborative projects they have undertaken together.
Kier never directly approached a director and said, ‘I’d like to work with you,'” he shares. Yet, opportunities found their way to him. It kicked off in London when he moved there at the age of 18.
After that, Kier started encountering people, he admits bashfully, bringing up the evening when Luchino Visconti noticed him at Danny La Rue’s, a popular London nightspot. The renowned Italian director extended an invitation to Kier for a champagne toast with the legendary Rudolf Nureyev.
“What can I say?” he shrugs. “I was a very photogenic boy.”
The actor’s cheekbones remain defined, and his stare is disquieting. It’s not hard to imagine how awe-inspiring he likely was six decades past, such that strangers would approach him with offers on the street.
He explains that it was through this encounter,” he said, “as Michael Sarne, a well-known British singer who later directed ‘Myra Breckinridge,’ approached him at a London café – not an unusual or suspicious event, but one that proved to be pivotal in his life.
Kier mentions that he enjoyed being noticed, which led him to take up acting,” Kier shared, explaining his journey to France where he portrayed a young charmer in Sarne’s satirical pseudo-travel documentary titled “Road to Saint Tropez.” His role primarily required him to look attractive and recite the lines, with the dialogues later being dubbed in French by another individual.
In his early acting career, many of Kier’s roles, including “The Story of O” and “Suspiria”, were redubbed, but this didn’t bother him. He explained, “I knew it could only improve because they were professionals. I am not.” So if I look good on screen, and then a skilled actor with a powerful voice is dubbing me, that would certainly enhance the performance.
In a stroke of luck, Kier secured his first role where his genuine voice was heard in the explicit film “Flesh for Frankenstein”. This serendipitous event took place during a flight from Rome to Munich. Sitting next to him was director Paul Morrissey, who regrettably passed away last week at 86. In mid-flight, this American filmmaker mentioned, “I produce films for Andy Warhol,” and requested Kier’s contact information, which he scribbled down on the final page of his passport. A few weeks later, Kier received a call from Paul: “Hey, it’s Paul. I’m working on a 3D ‘Frankenstein’ movie, and there’s a small part for you.
The filming location for the movie was Cinecittà Studios in Rome, with Dr. Frankenstein being the main character. According to Kier’s account, Paul approached producer Carlo Ponti and said, “I can create a movie for $300,000,” to which Ponti responded, “Then make me two!” These films were humorous interpretations of traditional monster movies, produced with just a basic script as a guide. After the first movie was completed, Morrissey intended to cast Srdjan Zelenovic (who had portrayed Frankenstein’s muscular creation), but passport problems prevented it, so the director informed Kier, “It seems we have a German Dracula.
Kier received just a small sum (around a few thousand dollars) to play the leading roles in “Flesh for Frankenstein” and “Blood for Dracula”, but these movies ultimately catapulted him to fame. After encountering an article that labeled Fassbinder as a “tremendous film director” in Stern magazine, Kier rekindled his friendship with his former pub companion. They collaborated on several films and even shared residence (although not romantically) for a while.
Kier admits he’d never had much money, a fact that led him to sleep on Cookie Mueller’s couch (a friend of John Waters) in New York at one point. For the next 15 years, he resided in Europe. However, it was Van Sant who helped him secure an American work permit and his SAG card, enabling Kier to eventually settle here.
At the Berlin Film Festival, Udo encountered Van Sant, who shared with him about a small-budget movie he had produced titled ‘Mala Noche’. He further mentioned that his upcoming production was ‘My Own Private Idaho’, and expressed interest in having Udo feature in it.
It transpired that Madonna was fond of the movie. With her approval, photographer Steven Meisel contacted him about creating a provocative photo collection for a book. Kier recounts, “We conducted the photoshoot, and then I received a call from her office asking if I was prepared to engage in explicit content. And I responded, ‘At last!'” He chuckles. The initial round of photos were taken at a simulated strip club. For the subsequent shoot, they ventured to an actual sex club. Kier inquired of Madonna, “How far can I push boundaries?” To which she replied, “Go ahead and do as you please.
Kier isn’t one to turn down such an offer. He remembers, “On the bar were a pair of stunning high-heel shoes.” Looking at them, he suggested, “Could you fill one shoe with lemonade to make it look like urine? I’m in a sling, drinking it.” This unusual shot ended up in the “Sex” book and even landed him a leading role in Madonna’s “Deeper and Deeper” music video.
Kier expresses that he’s aiming to create an impactful moment in a movie, one that audiences will recall, rather than focusing on calculations. Kier stands out in every project he takes on, and he doesn’t simply follow the script as written; instead, he infuses his unique personality into the film.
Multiply that by more than 200 roles, and you’ve got the recipe for immortality.
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2024-11-09 19:48