El otro Sr. Klein

Paris art dealer in Vichy France (Alain Delon) who has a small but significant part in the heist of European works of art finds that he is under suspicion after he begins to investigate another man with his name who has a subscription to a government sanctioned Jewish newspaper. Of course, the police have the names and addresses of all the paper's readers, and are also busy organizing for the expulsion of the entire Jewish population of Paris, many of whom are forced to sell their cherished paintings for near nothing, which are then auctioned off to eager buyers. The auctions are formal affairs, dressed up to legitimize the robbery that took place. At the same time, Delon's curiosity about this other man with his name and appearance (Robert Klein) becomes an investigation for him to prove his own identity and roots. In the midst of it all is a brilliantly and subtly portrayed decay of society, especially in a memorably filmed anti-semitic cabaret scene, where German officers mingle with the French upper middle-class, laughing along to an incredibly insulting act.

Here with scarce votes and just two dozens reviews, I was jolted by so lowest numbers, Joseph Losey made a beguiling movie surround by mysterious events on Kafkaesque fingerprints all over, the picture takes place in a bleak time at occupied Paris by Nazi-forces in 1942 Mr. Klein (Alain Delon) a thoroughbred bon vivant art dealer who handle as black vulture devouring the distraught Jews that came to him to sell their pieces of art in order to escape to foreign parts, then came up the unexpected, Monsieur Klein now was mistaken by a Jew namesake, henceforth his easy life turns upside down, he tracks down his wrongdoer unflaggingly thru the Paris, receiving strange letter that seemingly goes to nowhere, on his chase an empty room at decaying neighborhood shall be the answer, there he finds some sizeable clues as photo and an odd sheet music, nonetheless the time is running out, the worry Mr. Klein with the police at his neck, he ought proves that his family's roots are France's purebred, rarest picture indeed, approaching the atrocious Holocaust and their havoc at Jewish community on Europe, while in sluggish pace, but never boring, plus letting the eager viewer mesmerized on the screen, the outcome is apotheotic and was enforced by personal reasons, worthwhile the two hours of pure magic!!

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First watch: 2021 / How many: 1 / Source: DVD / Rating: 9

Somehow, I got to see only now, 45 years after its release, 'Mr. Klein', Joseph Losey's 1976 film, one of the most interesting movies about the Holocaust and Paris during the Nazi occupation. The film is produced by Alain Delon, who also plays the lead role, one of the best acting creations of his career. It is also one of the last films in the career of Joseph Losey, a remarkable American film and theater director, who spent many decades of his life in Europe, self-exiled because of his communist beliefs. He made several successful films, mostly in England in the 1960s. 'Mr. Klein', made in France, is both significant as one of the first films that addresses lucidly and critically the problematic history of French collaborationism and also fits into the themes and atmosphere of Losey's previous films with heroes who question their identity and the description of ambiguous relationships, often leaving the viewers to decide the meaning of what they see on the screen. I don't think I'm wrong in saying this is Losey's last great movie.

The story takes place in German-occupied Paris in the winter of 1942. Robert Klein (Alain Delon) is an art dealer who leads a comfortable life by taking advantage of the opportunity to buy at low prices paintings from the collections of Jews who were forbidden to practice their professions or trades and who had to sell household objects, including art, in order to survive. The ambiguity of his Alsatian name puts him in an awkward position when he is mistaken for another, Jewish, Robert Klein and begins to receive the newspaper of the Jewish community. Being a Jew in occupied Paris was more than a social stigma, and in trying to clarify the situation, Mr. Klein became entangled in the intricacies of the Petain regime's bureaucracy. The search for his alter-ego becomes a kind of police intrigue in a world that has become absurd according to the criteria of logic and legality that he had known until then. Gradually, he begins to open his eyes to the extent of the discrimination suffered by the Jews and which he had taken advantage of until then nonchalantly. Trying to prove his own 'national purity', Mr Klein starts to get closer the other Robert Klein, who had endangered, intentionally or unintentionally, his easy existence until then. The two Robert Kleins never meet but their destinies are linked.

The quality of Joseph Losey's film-making is remarkable. Paris under occupation, decadent and indifferent, in which part of the population had adopted the slogans, policies and racial legislation of the occupiers and had become complicit in persecutions and deportations denying the democratic principles of France, is brought to the screen with authenticity and carelessness. Attentive as always to detail, Losey creates various interior sets, from the hero's sophisticated apartment or residence in a castle of the probable mistress of the other Robert Klein to his rented, miserable and rat-infested house or the corridors of the police prefectures. The streets are deserted, cold, hostile and if vehicles appear they are police or Gestapo cars. Music plays an important role in two key scenes, one taking place in the castle, the other in a cabaret. The sound of the phones is as threatening as in Hitchcock's movies. Last but not least, the final scene is probably the first on-screen rendition in a feature film of the arrests and deportations of the Paris Jews from the Winter Velodrome, a historical episode kept under silence until then, which many French would have preferred to forget. Alain Delon builds his role between nonchalance and defiance, between trying to ignore realities and assuming them. Among the actors in the cast, I must also mention Jeanne Moreau and Michael Lonsdale, two formidable actors who are cast here in consistent supporting roles. The ending is debatable and was debated, open to many interpretations that have not, I think, been definitively settled by this day. IMDB mentions that Costa-Gavras also contributed to the script, although he is not listed in the credits. 'Mr. Klein' is a must-see film about occupied France and the attitude of the French towards the Holocaust, a film worth seeing, thinking about and discussing.

CONTAINS SPOILERS

A doctor's office.A woman stands here in the nude.He's no longer a doctor but a vet,examining the scared patient as if she's a cow."She might belong to those inferior races.A dubious case."He mumbles to his nurse.

"Monsieur Klein" is rarely mentioned when they praise Joseph Losey.It could be his finest achievement ,the success of a work fascinated by decay,from "the gypsy and the gentleman" to "the servant".

Like the heroes of the two mentioned works,when the movie begins,Monsieur Klein (Alain Delon,whose performance is memorable,anyway it's his last great part)is a bon vivant.A bourgeois vulture who buys paintings and other works of art for next to nothing from the Jews during the Occupation in France.One day,he receives a news paper called "les informations juives".Thus he discovers he's got a namesake.At first puzzled,Klein becomes more and more involved in a search of this man ,his doppelganger,his twin,who plays cat and mouse with him.Both realist and dreamlike,not to say nightmarish,à la Kafka,and metaphysical,à la Borges ,as the precedent user wrote,Klein's quest is both mad and logical,absurd and passionate.A sublime sequence shows Delon in a crowded café :a waiter 's calling "Monsieur Klein";first he does not care because he knows "they " call the "other",but finally,he asks the waiter who tells him that the person who called "Monsieur Klein" looked just like him.Then the baffled Delon sees his reflection in a mirror.

In 1942,in Paris ,there are ominous plans.In the desert streets ,in the small early hours,French gendarmes silently move ,as if they are rehearsing for something better left unsaid.The color movie almost turns black and white in a riveting cinematographic tour de force.

Robert Klein becomes like Lewis Caroll's Alice in the well.He could avoid the fall,but he will not.His world,now that he's a suspect for the police,is collapsing.It's his turn to sell his valuable properties for a song.

In the vel' d'hiv' (winter velodrome),the roundup of Jews had begun.Klein could escape,because his lawyer found the papers that proved that "he 's got no Jewish blood in his veins",but he would like to know this other himself and he would follow him even if it were into hell.It was indeed,as the train slowly moves off,heading for the concentration camps.

A first-class work,"Monsieur Klein" leaves the audience numb and ill-at-ease.A topflight supporting cast (Suzanne Flon,Jean Bouise,Michel Lonsdale,Jeanne Moreau) shines.

Delon as the classic "individualist" who profiteers until finally the Brechtian idea of "first they came for 'x', you weren't concerned..." simply happened is a paranoiac, gloomy view of France during the war. A bit heavy-handed from the start, nevertheless is thrilling and keeps you wondering what is really happening till the end. Harder to follow than any Hitchcock or Christie, probably on purpose, as if to say: Life is not always so clear cut.

Lady Moreau and Francine Bergé could have had more "character development", while beautiful leggy Juliet Berto's long figure and erratic behaviour is all we can see from Bob's fiancé. Robert is cold, intelligent, self assured, able to answer like a French writer while his house is being requisitioned by the police. Lonsdale, from many Buñuel films, gives us the eerie feeling so necessary for this film to succeed. Jugnot and Aumont deliver in their smaller roles. Suzanne Flon, from "Un crime au paradis" among others, is convincing in her obfuscated part.

Gerry Fisher's cinematography and Egisto Macchi's score make this film stand apart, you've get the feeling of "really being there". In the grim and everyday aspects, not fictionalized for being palatable. mackjay from IMDb writes: "Klein's mixture of desperation and arrogance with so much conviction, it's easy to forget he is, after all, acting". C. Tashiro adds that the Nazi horrors are taken for granted, making them more real. Like J. L. Borges usually quipped: "There are no camels in the 1001 nights" meaning those involved don't notice what we, the viewers, probably would.

Franco Solinas's script conveys paranoia as faced by somebody who seems never to have suffered for anything, nor anybody for that matter.

Great film, but obviously, not "light viewing". Maybe a tad slow for nowadays's viewers.

Gripping!!