Klute

"Klute" was a mixture of lone cop and private eye: a police officer who was hired privately to investigate somebody's disappearance… The trail led him deep into the world of New York call-girls, pimps and drug addicts… It was all shown, the vice, the degradation, but with intelligent compassion and honest humanity instead of the leer that so often sits on the face of the Seventies…

Although barely more talkative than "Dirty Harry," "Klute" emerged as a whole human being rather than as a robot programmed to shoot and hit…And as a high class hooker Bree Daniel, Jane Fonda achieved a characterization that has never been surpassed in all the abundant literature of tarts with hearts…

"Klute" was a modern, as honest and unflinching as any fanatic for realism could ask; yet it was never curious about sexuality, never needlessly violent, never brutal… And for complete, entertaining suspense, it was up there with the great ones: an enormous tribute to the producer-director Alan J. Pakula

In Pennsylvania, when his old friend, the laboratory engineer Tom Gruneman (Robert Mili), vanishes, detective John Klute (Donald Sutherland) is hired by Tom's colleague Peter Cable (Charles Cioffi) to search for him. The unique lead is an obscene letter written by Tom to a call-girl in New York called Bree Daniels (Jane Fonda), and Klute moves to the Apple city to investigate the disappearance of Tom. Klute blackmails Bree to help him to find other prostitutes that might have been with Tom using some tapes of her phone calls that he had secretly recorded. They realize that some is stalking Bree, while Klute falls in love for Dress, and she has some sort of feeling that she can not understand for him.

In 1971, Jane Fonda was a muse worshiped by many teenagers like me, and I was particularly following her work through the sexy and cult sci-fi "Barbarella" and "They Shoot Horses, Don't They", an excellent adaptation of Horace McCoy's novel of the same name that had impressed me a lot. "Klute" was considered erotic in those times and the scene where Dree fakes an orgasm while looking at her watch was a sensation. Later I saw this movie many times on VHS, and now I have just bought the DVD.

"Klute" is really a classic film-noir, one of my favorite movies ever, with an engaging story with thriller, crime and romance, magnificent direction and stunning performances of Jane Fonda and Donald Sutherland in the role of very believable characters. Jane Fonda deserved the Oscar perfectly playing a very complex character, strong and insensitive with her clients, fragile and confused with love. It is amazing how this movie has not aged and how much I like it every time I see it. My vote is nine.

Title (Brazil): "Klute, O Passado Condena" ("Klute, the Past Condemns")

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!

Donald Sutherland plays John Klute, a small town private investigator, whose search for a missing man leads him to a high-priced New York City call-girl named Bree Daniels, played by Jane Fonda. Bree keeps thinking she hears noises and has the feeling someone is following her. This story element combined with spooky music conveys an air of mystery, a sense that an unseen character lurks in the background.

It's an interesting premise. But the story is thin, and the film's payoff at the end is disappointing. The weak story transfers responsibility of entertainment to the two lead characters: Klute and Bree. And with Sutherland's character so reticent and stoic, "Klute" turns out to be mostly a character study of the call-girl, and therefore a cinematic vehicle for Fonda.

Although I'm not convinced she deserved an academy award for her performance, she does do a fine job. But there just isn't that much else to this film. It is very, very slow. Scenes are long and drawn out. Stylistically, "Klute" reminds me of "The Conversation" (1974). The film also is vaguely similar in style to some of Dario Argento's "giallos", minus the horror element, and minus Argento's fantastic cinematography.

Most viewers like this film because of Fonda's performance. And that's certainly a valid criterion. Far fewer people recommend the film for its story or plot. If you are a Jane Fonda fan, "Klute" will be a real treat. If you are looking for a chilling mystery with lots of plot twists, you might want to look elsewhere.

Fine gritty dramatic mystery that gets the pulse of NYC in the early 70's just right. It becomes another character in the film which only strengths the picture and adds a certain creeping menace to it. While the movie pivots on the disappearance of a man it's really a character study of alienation with the investigation a peg to hang the main action on.

Sutherland is fine as the inquiring detective John Klute but the film lives and dies on the character of Bree Daniels and Jane Fonda owns that part.

Bree wants the world to believe she's one tough hard customer but as the film progresses it becomes more and more obvious that the bravado is a front. She displays raw, honest emotion in all her scenes but particularly in her therapy sequences. She shows so many layers to the character, including flashes of humor that Bree comes across as a real woman.

Usually I try not to let appearance factor into my appraisal of a performance however that shag hairstyle is integral to the audience's acceptance of her as a tough call girl. Having moved forward and away from her initial image of the blonde cutie with her previous film, They Shoot Horses, Don't They?, she completely transforms herself in this. The soft blonde Jane Fonda of Barefoot in the Park or Barbarella of only a couple of years before would never be believable as Bree Daniels. The film was a major hit and she won her first Oscar for it. She was up against some excellent performances that year but she was the correct winner.

Expertly directed by Pakula in his usual observant style this is a classic of '70's cinema. Highly recommended.