Klute

Despite the rough-edges reputation of Pakula, he always manages to give us some beautifully shot, almost fragile images. Like Fonda pondering an envelope full of money and a blank invoice while surrounded by clothing-store dummies; or Sutherland choosing apricots by feel; or even Roy Scheider's silent acknowledgement that he is being used. And Fonda's artless performance is so unbelieveable, I couldn't believe it was her.

Terrifically acted - everyone takes just the right tone. My only quibble about the movie is how the mystery is solved. It's much too abrupt given the meandering pace of the rest of the movie. But the plot means nothing in this surprisingly delicate character study.

The question Klute ultimately asks is can a high priced call girl from Manhattan find happiness with a small town private detective from Tuscarora, Pennsylvania? Of course it asks more than that and probes the human psyche quite a bit.

Though the title role of John Klute the detective is played by Donald Sutherland, the central character is Jane Fonda the call girl. Which begs the question why the film wasn't called Bree. It was her performance as Bree Daniels that got Jane her first Academy Award for Best Actress. That and sympathy from Hollywood for being an avowed member in good standing on Richard Nixon's enemies list.

Despite Nixon and his trashing of the Constitution, I never liked the idea of Jane Fonda broadcasting from Hanoi while our soldiers were fighting in Vietnam. That was taking anti-war protest way too far. But forgetting the politics she gives quite a performance as the psychologically deep and troubled call girl who has a stalker on her hands.

Sutherland as Klute is hired to trace the disappearance of business executive Robert Milli from the main corporate employer in Tuscarora, Pennsylvania. Apparently Milli was leading a double life, on business trips he'd hire call girls and had a tendency to get rough while frolicking. There's a note found threatening one of them and of course it's Jane Fonda.

Fonda is an aspiring actress and model who does this to pay the bills. It's given her quite a cynical attitude on life. It takes a while, but Sutherland kind of grows on her and when he solves the disappearance, he proves to be her benefactor.

Other performance to note are Roy Scheider as her pimp, Rita Gam as the brothel madam and Charles Cioffi the CEO of the company who hires Sutherland to find the missing Milli. Still it's Fonda who dominates the proceedings.

I'm still hoping that Peter Fonda gets a role that will land him an Oscar so we have a father-daughter-son parlay of Oscar winners in one family. Klute as a film has stood the test of time and hasn't aged a bit. It could easily be done today with those awful Seventies fashions replaced by today's.

I agree with the commentator(s) who say the title of this film should be 'Bree' instead of 'Klute.' No offense to Donald Sutherland who is undoubtedly effective in his role, but it is Jane Fonda's wonderfully nuanced performance that really carries this film. What an incredible range this actress has and what an impressive résumé she has put together throughout her career! I can't wait to see her in Monster In Law. Jane Fonda definitely deserved the Oscar she got for this role. Her portrayal of Bree Daniels, a tragic heroine wracked by inner contradictions is one of cinema's most haunting characters not only in the context of the story but as the embodiment of the immediate post sexual revolution as well. Highly recommended!

This is without a doubt the most intensely atmospheric film I've ever seen, and certainly the best, tied perhaps only with Chinatown. Pakula's eye shows us the true grit and grime of the city that never sleeps. Klute was packaged as a suspense thriller, but it is so much more than that. It is also a character study (either of Bree herself, or the city itself). It is a love story. It is a study of urban stereotypes. And did I mention the music? The eerie scrapes, nervous marimba and fearsome humming will really creep you out, but the warm trumpets and delicate strings on the flipside are warm and enveloping. Anyway, back to the film. The slow scenes are equally crucial as the action scenes; the gorgeous sequence of Bree and John Klute shopping for oranges in the city market at night is a powerful statement that love can exist between opposites. Fonda's brilliantly improvised therapy scenes are explosive as they are heartrending. No actress, living or dead, can touch her. As the beautiful and confused Bree she is both vulnerable and in charge. The unraveling of her psyche is fascinating to watch, as is John Klute's repulsion and fascination with "the city folk". The final confrontation will disturb and haunt you for days. Bottom line, essential. No film will take you into its world quite like this one. They just don't make 'em like this anymore.

Klute is a pretty darn good early 70's New York Noir ... with just one problem.

Bree Daniels (Jane Fonda) is a struggling actress living in New York City who works as a call girl to get by.

John Klute (Donald Sutherland) is a small-town detective hired to find a missing PA businessman who had once booked Bree for a date. He tracks her down and uses her contacts to help solve the mystery of the missing businessman.

The problem is that about halfway through the film the bad guy is revealed, and it stops being a mystery. I guess then it is more of a suspenseful drama.

It's all very well done, it just wasn't what I expected.

I really enjoyed seeing the gritty and bleak NYC circa 1970/71. The fashions, hairstyles, and décor were fabulous. And I was pleasantly surprised to see Jean Stapleton (Edith from All in The Family) in a small part as a secretary. Recommended!