Her parents divorced in After the age of 10, Kinski rarely saw her father.
Interview, in Photoplay LondonSeptember The Nymphet Syndrome in the Movies, London, Current BiographyNew York, Questions of talent aside, one likely reason why Kinski did not quickly become the next Ingrid Bergman or Audrey Hepburn among the classic stars to whom she was compared was her choice of projects after Tess, her breakthrough film.
Her choices were admirably adventuresome and varied, and often for important directors, but most of the resulting films were considered highly flawed or at least controversial, though Kinski's performances were often cited as saving graces rather than part of the problem.
Following her debut as the deaf-mute Mignon figure in Wenders's update of Wilhelm Meister, and various European films that established her as a charming, sexually provocative teenager, Tess introduced Kinski to a much wider audience. These viewers saw a face with remarkably large eyes and lips the wide mouth more prominent in later filmsand heard a unique voice, with slurred, almost warbled sounds, especially the vowels preceding "r"s not to be explained simply by her adoption of a Dorset accent.
Much of the film called for her to be silent, eyes downcast, suggesting an inwardness, a soul perplexed and suffering. Almost nothing is shown of the passionate side of Hardy's Tess, as if a subtext of Polanski's affair with the teenaged Kinski were allowed to suffice.
Significantly, one never even overhears Tess's quarrel with Alec before she murders him, as reported in the novel. Kinski's first American role, a supporting one as the tightropewalking vamp in One from the Heart, called for her to be little more than odd and exotic.
A much more challenging role was the lead in Paul Schrader's Cat People, calling for Seduced by natassja kinski and el more intense version of the persona from Tess: As a woman who finds that she turns into a black panther when she has sex, Kinski has the appropriate haunted look, and of course the unusual facial features and voice that sounds American yet with some untraceable accent.
She is convincingly shy and terror-stricken, less convincingly demonic in the weakly motivated swimming-pool scene. Today Cat People may seem repellently voyeuristic, without a trace of the ironic distance one finds in, say, Hitchcock, and tiresome in its "take" on the myth of the virgin woman becoming a deadly animal when sexually aroused, but it made Kinski more of a star.
Her next roles, in Exposed and The Moon in the Gutter, allowed her to play less passive women, though hardly more in control of their destinies; but both films received notoriously negative reviews for directorial pretentiousness.
By comparison, her portrayal of Clara Wieck in Spring Symphony was notably conservative and innocuous, like the film itself. Unfaithfully Yours at least demonstrated that Kinski could handle light comedy in charming fashion here with an Italian accent. But in Kinski achieved two major performances.
Maria's Lovers, a curious fantasia on motifs from Tess, features her as the virginal bride of a young World War II veteran who proves to be impotent only with the woman he loves and deserts her; later she is seduced and made pregnant by a traveling musician, but consequently reunited with her husband.
Kinski, her hair pulled back to reveal a less glamorized version of her striking features, is allowed more vivacity and intense emotional expression by director Andrei Konchalovsky than Polanski had permitted Tess: In Paris, Texas, 90 minutes go by before Kinski, as the object of the protagonist's quest, is glimpsed on the screen, except in a home movie, and another ten minutes before she looks directly at the screen through a peepshow window, the viewpoint of her estranged husband [Harry Dean Stanton] and begins to speak, in a Texas accent that is not flawless but still acceptable, almost touching.
Asked in Film Quarterly about Kinski's public image as a "nymphet," Wim Wenderswho conceived the part for her, said that she fitted into the film's "subtext. I've followed Nastassia's career. There's a really great actress, and she's totally exploited because of her image.
I felt she was waiting to show the other side of that image. Kinski is tremendously affecting in an exposed role that essentially consists of two scenes with Stanton, in the second of which she mostly just reacts to his long monologue, then delivers a four-minute monologue of her own.
Following these performances, Kinski appears to have focused primarily upon her private life, including children; her roles have been less frequent, and seldom remarkable. As the "other woman" in the Turgenev costume drama Torrents of Spring she is rather flat, like the rest of the cast.
As the angel Raphaela in Faraway, So Close, Wenders's sequel to Wings of Desire, she is, at least, quite perfect for the supporting role: Playing conventional heroines in recent thrillers, she has little to do but look charming in the low-budget Crackerjack, while in Terminal Velocity, in the meatier role of an ex-KGB agent who becomes the sidekick of an American flyboy Charlie Sheenshe is a sexier sort of Nancy Drew as she snoops along dark corridors.
One can only wonder if this featured role in a standard Hollywood action film signifies a new phase in a unique, seemingly unfulfilled career.The style used in “Seduced by Natassja Kinski” and “El Chicle” is conveyed vividly.
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Actress Nastassja Kinski supports sister’s claims of abuse by father Klaus. Tony Paterson; Klaus Kinski described in detail how he had seduced many young girls. The newspaper went on to say. Nastassja Kinski’s Biography.
Daughter of the German actor Klaus Kinski and his first wife, the actress Ruth Brigitte Tocki, Nastassja grew up and developed in a hostile environment, in the middle of an itinerant poverty while the marriage lasted, until in their parents separated.
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