Diary entries forKlute
Klute
Finally finishing Pakula's paranoia trilogy, but here at its start. She may not snag the film's title but this is Bree's movie, no question; if anything, "Klute" can maintain that header status purely because of Bree's speaking it to the front of her mind. The interiority of her character explored at such length, reading about all of the improvisation and framing, what a remarkable work for the time. Looks incredible, too-- at times almost having the bearing of something released just in the last couple years. Intimate fears, narrowed corridors of existence, subverting my expectations at every turn. Lot of credit to Sutherland's restraint here, too. His archetype is slotted in but within that narrow space he displays a lot of heart, floundering a bit as detective, but "he's interested... he cares."
Klute
O policial do interior, John Klute, vai até Nova York para investigar de forma particular, o sumiço de seu colega a pedido de sua família. No entanto, o desaparecido aparentemente esta relacionado à prostitutas por meio de algumas cartas. Ao chegar na cidade, Klute, na busca por informações sobre o caso, se apaixona por Bree Daniels, uma prostituta de luxo que é perseguida por um psicopata assassino. Contudo, o criminoso direciona seus esforços para se livrar de todas as meretrizes com quem já se relacionou. Quando eu percebi quem era o psicopata fiquei tenso demais e foi "absoluto cinema". A parte final rendeu um Oscar merecido para Jane Fonda. Eu recomendo ver sem a dublagem brasileira da época devido aquelas famosas frases "Cuidado! os tiras estão vindo aí" que não te fazem levar o filme tão à sério em alguns momentos.
Klute
listen i just like 70s paranoia thrillers, apparently. the tension…the gritty cinematography, etc, etc. donald sutherland may be the title character but jane fonda and her performance really elevate this. a good nuanced and well-acted depiction of that sort of profession.
Klute
as with most films from the 70s, i love the style and the just overall look of this film. but it struggled to hold my interest a bit. certainly isn’t bad by any means, i just couldn’t fully engage with the middle 50 minutes or so. my favorite parts are definitely jane fonda, the costume design, and the set design. will rewatch someday because this screamssomething i should love, it just didn’t happen this time.
Klute
not even my beloved jane fonda could make me like this movie
Klute
“I guess I just realized that I don’t really give a damn.” From renowned director Alan J. Pakula, comes a grimey 70’s mystery the precedes his iconic political thrillers later on in his career. Starring the ever so beautiful Jane Fonda as a New York City sex worker, Klute clearly exemplifies the why 70’s paranoia still resonates well over 50 years later. An apprehension and fear surrounding the people in power who are meant to protect us is the main driving force behind the film — something Alan J. Pakula seems keen on portraying later on in his career. Every element really works together exceptionally well in this film — from the humanistic, subdued performances to the eerie, deeply unsettling music composed by Michael Small, accompanied by highly effective photography by acclaimed cinematographer Gordon Willis. Klute stands the test of time through the sheer talent involved. It also helps that it’s a damn good film, through and through. Where my enjoyment for this film falters is around the third act, as it seems to never reach the heights of the first half. Along with a pretty lackluster ending, Klute does end up being Alan J. Pakula’s near masterpiece — later to be easily outdone by the immaculately crafted All the President’s Men.
Klute
“𝘛𝘩𝘢𝘵’𝘴 𝘸𝘩𝘢𝘵 𝘺𝘰𝘶 𝘢𝘭𝘭 𝘥𝘰. 𝘠𝘰𝘶 𝘮𝘢𝘬𝘦 𝘢 𝘮𝘢𝘯 𝘵𝘩𝘪𝘯𝘬 𝘩𝘦’𝘴 𝘢𝘤𝘤𝘦𝘱𝘵𝘦𝘥. 𝘐𝘵’𝘴 𝘢𝘭𝘭 𝘢 𝘣𝘪𝘨 𝘨𝘳𝘦𝘢𝘵 𝘨𝘢𝘮𝘦 𝘵𝘰 𝘺𝘰𝘶. … 𝘐’𝘮 𝘴𝘶𝘳𝘦 𝘪𝘵 𝘤𝘰𝘮𝘦𝘴 𝘢𝘴 𝘯𝘰 𝘨𝘳𝘦𝘢𝘵 𝘴𝘶𝘳𝘱𝘳𝘪𝘴𝘦 𝘵𝘰 𝘺𝘰𝘶 𝘸𝘩𝘦𝘯 𝘐 𝘴𝘢𝘺 𝘵𝘩𝘦𝘳𝘦 𝘢𝘳𝘦 𝘭𝘪𝘵𝘵𝘭𝘦 𝘤𝘰𝘳𝘯𝘦𝘳𝘴 𝘪𝘯 𝘦𝘷𝘦𝘳𝘺𝘰𝘯𝘦 𝘸𝘩𝘪𝘤𝘩 𝘸𝘦𝘳𝘦 𝘣𝘦𝘵𝘵𝘦𝘳 𝘰𝘧𝘧 𝘭𝘦𝘧𝘵 𝘢𝘭𝘰𝘯𝘦. 𝘚𝘪𝘤𝘬𝘯𝘦𝘴𝘴𝘦𝘴. 𝘞𝘦𝘢𝘬𝘯𝘦𝘴𝘴𝘦𝘴. 𝘞𝘩𝘪𝘤𝘩- 𝘞𝘩𝘪𝘤𝘩 𝘴𝘩𝘰𝘶𝘭𝘥 𝘯𝘦𝘷𝘦𝘳 𝘣𝘦 𝘦𝘹𝘱𝘰𝘴𝘦𝘥. 𝘉𝘶𝘵 𝘵𝘩𝘢𝘵’𝘴 𝘺𝘰𝘶𝘳 𝘴𝘵𝘰𝘤𝘬 𝘢𝘯𝘥 𝘵𝘳𝘢𝘥𝘦—𝘢 𝘮𝘢𝘯’𝘴 𝘸𝘦𝘢𝘬𝘯𝘦𝘴𝘴. 𝘈𝘯𝘥 𝘐 𝘸𝘢𝘴 𝘯𝘦𝘷𝘦𝘳 𝘧𝘶𝘭𝘭𝘺 𝘢𝘸𝘢𝘳𝘦 𝘰𝘧 𝘮𝘪𝘯𝘦, 𝘶𝘯𝘵𝘪𝘭 𝘺𝘰𝘶 𝘣𝘳𝘰𝘶𝘨𝘩𝘵 𝘵𝘩𝘦𝘮 𝘰𝘶𝘵.” Utter perfection, especially the score. It’s the tinsel, the melodic sing-song voice of innocence, playful, that creates the eerie backdrop for the whole film. Sure, it’s the shadows too, but the tension all builds up to a beautifully crafted scene with Fonda as a force, able to wring out so much emotion that it’s the story of abuse, the abuser, and the abused that come crashing down in a sense of relief. And that relief is lifted. No screams. No shouts. Fumblings in an old garment factory. The swishing of fabrics. Quiet wrestling. And the score rises and so does the action, the *fatal drop. *I just wish this was edited a bit better to create the sense of flight. It needed a bit more fine-tuning in a proper crescendo to really land the moment, to leave us speechless, without breath. Perhaps a fade to white. Not a crossfade. But a sense of great relief. Otherwise, perfectly crafted. Never once did I feel safe in this film. Not in touch. Not in confession. Not until the very end. “I thought back to all those women, the faces I looked at who were beaten and killed by misplaced anger that men carry…I cried for women. I cried for the pain of women who were abused.” - Jane Fonda (https://www.youtube.com/watch?v=lZP3JaFj5lk&ab_channel=AmericanFilmInstitute)
Klute
She is the best actress in the world
Klute
I love this i should’ve bought the criterion this was endearing, promiscuous, and obscure all at once and this score is sooo gravitating. So i just thought about this for an hour and Im gonna have to add the half star
