
Having failed to break into professional opera in his native Germany (where, as an usher in West Berlin's Deutsche Oper, he would serenade the staff after the 'real' performances were over) the diminutive Klaus Nomi headed for NYC in 1972. The vibrant New Wave/avant-garde gestalt of the mid/late '70's East Village proved to be fertile ground for the development of his unique talents. Working by day as a high-end pastry chef, Nomi began to stage his outlandish performances, fi... (Full plot summary below)
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Having failed to break into professional opera in his native Germany (where, as an usher in West Berlin's Deutsche Oper, he would serenade the staff after the 'real' performances were over) the diminutive Klaus Nomi headed for NYC in 1972. The vibrant New Wave/avant-garde gestalt of the mid/late '70's East Village proved to be fertile ground for the development of his unique talents. Working by day as a high-end pastry chef, Nomi began to stage his outlandish performances, first launching himself upon an unsuspecting public at the New Wave Vaudeville in 1978. The hip and cynical young audience was stunned by this weird combination of falsetto arias, booming classical orchestration, Kraftwerk-style electronica, futuristic costumes and outer space imagery. An odd assortment of artists, choreographers, designers, songwriters and musicians jumped on to the Nomi bandwagon and the phenomenon began to take off - first attracting thousands to South Manhattan events (including performances at the legendary Max's Kansas City) and culminating in a recording contract with the French division of RCA. With the release 'Klaus Nomi' in 1981 and 'Simple Man' in 1982, it looked as if Nomi was on the verge of superstardom. Having established himself in Europe, he made a triumphant return to New York City. But Nomi's moment of glory proved to be his swansong. Within only a few months Nomi had succumbed to the ravages of AIDS. One of the first celebrities to be killed by this mysterious new disease, Nomi died a lonely death, largely abandoned by those who had seen him as a passport to their own success. Today, the otherworldliness of 'The Cold Song' and 'Dido's Lament' is like an ethereal voice calling from beyond the grave.
Leave your thoughts about The Nomi Song.
| New York Daily NewsElizabeth WeitzmanLike most cult bios, this barely skims its subject's private life. Fortunately, there are copious clips of Nomi's mesmerizing performances. |
| DVD VerdictBill GibronWhile he was never a Top 40 hitmaker, Klaus Nomi was an important artist...and The Nomi Song is a cinematic anthem to his unorthodox individuality. |
| L.A. WeeklyErnest HardyOn the one hand, this is standard-issue autobio documentary filmmaking; on the other, with Klaus Nomi as the focus of our attention, all conventional notions (and notions of convention) are altogether burned away. |
| Boxoffice MagazineSheri LindenThe power of even the muddiest B&W images is remarkable, Nomi's delicate whiteface visage penetrating the murk, his falsetto pure and free of irony. |
| Filmcritic.comChristopher Nullhonest and well articulated, but the picture they paint is far from compelling |
| MTVKurt Loder[S]trange and fascinating ... gives off a rich whiff of the New York punk bohemia of the late 1970s and early '80s. |
| Chicago ReaderJonathan RosenbaumThe Nomi Song is pieced together from photos, performance footage, and talking-head interviews, but director Andew Horn has taken great care to fashion a strong story arc. |
| PanoramaJean-François VandeurenUn documentaire qui rend justice à un personnage fascinant, mais dont on aurait tout de même voulu en savoir davantage |
| Reeling ReviewsLaura Clifford...one of the most compelling acts most people have never heard of |
| New York TimesDana StevensAn affectionate portrait, not only of Nomi, but also of the long-gone days when downtown Manhattan was an affordable enclave for creative misfits. |