Klute (1971)

An American Movie Classic
Who would have thought that the gal who played the ultimate cheesecake role as outer space babe, Barbarella, a few years earlier would be capable of such a magnificent performance as her in the role of alienated prostitute Bree in Klute? This is an updated noir crime drama the way it should be done but rarely ever is. Visually and compositionally "smart" and sensible, and interesting, never over the top, never draws attention to itself stylistically. Noir-like in its use of natural lighting and locations. Subdued but effective musical score. No, this film isn't a, "... it was Colonel Mustard in the library with the rope" whodunit. You know, pretty much, who the killer is fairly early on. It's an excellent, well-written, impeccably photographed and directed character study with some potent performances. Overshadowed by Fonda, is the mysterious edge of the titular character, played by Donald Sutherland. What draws him to her? What's the attraction on a psychological level (the physical is obvious)? Where do they connect? You know all about Bree in this film, while Klute remains a mystery. At the films ends you're left wondering what their life will be like, will this last? Excellent American movie classic that has aged remarkably well.

"JANE, I'M SHIPWRECKED 'ON GOLDEN POND'"
The Vietnam era establishment went absolutely ballistic when Fonda won an Oscar portraying "call girl" Bree Daniels, being stalked by a former deranged "customer". While father, Henry, was likely aging overnight at the controversy, Bree was being aided on screen by a mysterious private eye, John Klute,alias Donald Sutherland, who's also been trying to tie together several missing persons who've all had past links to the stalker. Ms. Daniels' persistent psychotherapy sessions,self prescribed, to ascertain the motives of her vocation, seem to be progressing, but are of absolutely no use when her persuer is nearby,accompanied by eerie background music. Not to give away too much, but the final minutes are conclusive, yet non-conclusive. By all means, purchase a copy for first rate, post-Vietnam entertainment.

The talking cure
One of the most characteristic films of the most exciting time in Hollywood history--the so-called "Hollywood Renaissance" from 1969 to 1977--, KLUTE stands as Alan J. Pakula's attempt to reinvent the traditional urban detective film; it may be seen as even better today than when it was released in 1971. Dispensing with giving clear conventional backstories for most of his characters, Pakula has them reveal themselves primarily through their dialogue: both the displanted Pennsylvanian detective, John Klute, and his quarry, a sadistic killer, use audiotape as tools of their trade. Their secret recordings of the heroine Bree, a high class call girl memorably played by Jane Fonda, evokes the talk of the therapy sessions she attends throughout the entire film, where she tries to make sense of her downwards career and conflicted feelings about her trade. Klute himself says hardly anything in the film, in a manner very much akin to a therapist's silences; we find out little about his motivations in a way that can seem frustrating but that was also clearly intentional. The film is mostly used to explore the rich character of Fonda's character, Bree Daniels, and there are probably few films that allowed such a fine actor so much breathing room to show her stuff. The film's dialogue was largely improvised, and its gorgeous Gordon Willis cinematography is extremely experimental for the era; it conjures up not only an adventurous kind of studio filmmaking peculiar to the time but also a certain vision of New York that's highly emblematic of its period.