Klute

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Klute Review

From the opening frame to the closing shot, "Klute" is a compelling, adult thriller and character study. It seems to get better with every viewing. When Pennsylvania business executive and family man Tom Grunemann goes missing, friend and detective John Klute (Donald Sutherland) agrees to take on the case. His only clue is prostitute Bree Daniels (Jane Fonda) in New York who was associated with a prostitute Grunemann had known and who is at the brunt of harassment calls possibly from Grunemann. As Klute watches Bree, the killer is watching. Although Bree is struggling to leave "the life" (aspiring to act), she is simultaneously drawn to the money, autonomy and emotional control it provides. Klute is brought deeper into Bree's world of prostitution, paranoia and drugs and unexpectedly he penetrates her emotional walls.

"Klute" is definitely Jane Fonda's showcase and she is fantastic, netting the Oscar that year against the odds. This may have been her "breakout" role at a time when she was notoriously unpopular because of her involvement in Hanoi, but she has turned in numerous fine performances over the years in films ranging from "They Shoot Horses, Don't They?" to "On Golden Pond." As Bree Daniels, she has a complex character who, as she attests, had some college, and who is vulnerable yet acerbic, impenetrable yet exposed. Whether speaking with her therapist, walking jauntily down the street or turning a trick, Bree as embodied by Fonda is fascinating to watch.

Some mention that the "thriller part" is weak because you know the identity of the killer. I would disagree. Knowing the identity of the killer is part of the suspense. In this claustrophobic world of shadowy stalkers and anonymity, it's like knowing the bomb is under the table, as Hitchcock once said. The claustrophobia and isolation also are deeply reflective of both New York and the character of Bree Daniels, revealing the irony of her "freedom." Surveillance tapes also figure largely in this film and were a big thing in the 70's. They would also figure largely in Watergate.

Aside from Fonda and Sutherland, the supporting players (including Roy Scheider and Jean Stapleton) perfectly embody their roles and add to the authenticity, and there is also a great tingly soundtrack by Michael Small. It's one of the finest films to come out of the 70's. I also get a kick out of seeing Fonda reading "Linda Goodman's Sun Signs" which was a rage in the 70's. Let it all hang out, baby!

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