h-christen This is another example of incomprehensible movies from the early seventies. Like "The parallax view" I reviewed.Movies are supposed to be entertaining, but these kind of movies are a pain in the head. You are trying to understand what is happening, but the director likes riddles to a very extreme extent. Most of the riddles are ill-founded by close up's, for instance, a tape running in a tape recorder, or a cigarette in an ashtray, multiple characters popping up from nowhere for no reason, as little information as possible given of characters, situations or hidden in such a way that you need to rewind multiple times. All to cover up that the story in fact is ridiculous. All has to be mysterious, but there is no suspense at all. I cannot identify with Klute because I know nothing about him. He is a wooden puppet. I do not understand the severe search for a certain Gruneman, from who we don't know anything. In fact we are fed very little information, only that a certain Gruneman has to be found. So for me this movie is a torture to sit out. One thing that makes sense for me is the transition of Bree from a call girl who can't feel anything, to a person that has feelings for Klute but even that feels fabricated.Why are so many scenes pitch-dark?Read no further, if you haven't seen it yet, because I will give a summary of the movie.SPOILERS!!People are babbling through a dinner...Suddenly, pay attention to the word suddenly, because things always seem to happen suddenly in this kind of movies.Suddenly, we see a row of women, tested like cows in a livestock market.John Klute is interrogated about the disappearance of a certain Thomas Gruneman. As well is Mrs. Gruneman. There is a meeting, by whom? to investigate the Gruneman case and they like Klute to do it. There is a call girl, who was under surveillance. The call girl remembered Gruneman from the mysterious letters. Gruneman may have been stalking this call girl. Why, how?, we don't know. By the way, the anonymous call girl was in the line of the tested girls.Suddenly we know the name of the call girl, Bree, because she is at the house of an unknown call girl caller, and we are witness of an embarrassing call girl-caller encounter. We see a day in the life of a call girl and suddenly John Klute is at her door, and next thing we see is Bree at an audition, because she likes to be an actress.We see a man unknown to us pouring drinks. A client of Bree. After a pathetic monologue from Bree we see a close up of John Klute. Bree is arguing with a woman unknown to us so far, but she is likely to be her psychiatrist. Suddenly Bree calls Klute, but we don't even know what happened last time when Klute was at her door. Klute has a tape recorder connected to his phone.Recordings from Bree are played. Then suddenly we see Bree with her pimp and a photographer, and the pimp appears to be: Klute, yes, undercover. The photographer is most likely her real pimp.Now the search is for a certain Arlyn Page, a junkie... Bree is acting with an Irish accent, just for fun I guess. Bree is scavenging through police photo's of dead girls. How did they get access to these photo's?Then the inevitably sexual encounter Klute-Bree, and suddenly they are an investigative team! Seventies disco and Bree goes into the arms of the pimp and Klute watches that.Klute reports to his boss and now they talk about a beating, who is beaten? Klute's boss listens to tapes of Bree and we see a photo of men on the moon...Klute goes to Bree, nothing is said, he puts her in bed. Next thing we see is Bree at the psychiatrist.O yes, now we are after Jane McKenna who is dead accordingly to Bree and Klute is at some weird evidence place, he found a necklace there I think.Body of Arlyn Page has been found by the police.Well, I have to say the scene on the market with Klute and Bree was very touching.So suddenly we know a name, Peter Cable, identified by comparing typewriter notes. It's the boss of Klute! Then we have a scene with Bree, Klute and her pimp. There is a fight between Klute and the pimp and Bree tries to stab Klute with scissors. Klute leaves and Bree is at her psychiatrist again, who is not there, then she calls Mr. Goldfarb, the mysterious client we have seen before.Then suddenly at the office of Mr. Goldfarb Klute's boss turns up and begins to confess 3 murders to Bree. He tries to murder Bree, but of course Klute is just in time and saves the day.Curtain.As we say in dutch when we hear a bunch of total nonsense: "Ik kan er geen chocolade van maken"I can't make chocolate of that.

Hitchcoc This is such a good film because the portrayals are so realistic. Donald Sutherland has been reduced lately to playing quirky bad guys. We forget that early on he was a leading man playing complex characters. In this movie we were exposed to the world of prostitution for one of the first times. Jane Fonda is victimized by a man who is fixated on her. She is involved in the investigation of a disappearance and Sutherland is the cop, Klute, who is brought in to investigate. As they explore her situation, he begins to fall in love with her. He also begins to become invested in her life because other prostitutes are dying at the hand of the monster they are pursuing. While uncomfortable to watch, this is well worth our time to view.

jadavix "Klute" tries to be two different things, is better at one than the other, but does neither amazingly well.When the movie begins, it's a thriller about a policeman going freelance to help track down a missing family friend. The only lead he has to go on is a connection the missing man seemed to have with a New York prostitute, Bree Daniels (Jane Fonda).When the policeman, played by Donald Sutherland, encounters Fonda, the movie becomes a strange love story, bolstered by a character study of the Fonda character. She's a hooker who wants to quit and become an actress, but is addicted to the sense of power and satisfaction her day job provides her with. She acts, flawlessly, with each man, discovering what they want and becoming it. Scenes with a psychiatrist reveal Fonda's hidden vulnerability, that her aloofness and cynicism mask a fundamental need she has that prostituting herself addresses and acting for the screen may not.This is, indeed, another great performance by Fonda, similar to her earlier turn in the classic "They Shoot Horses, Don't They?" So why is the movie called "Klute"? We find out very little about Sutherland's role. It is clear that he is an honourable man who wants the best for this woman he is entrusted to, but we don't find out very much else about him.The movie is only a thriller in the way it begins and ends. At the end I was past caring; the thriller aspect seemed foreign to Bree Daniel's story.It is superior as a love story, simply because we get more Fonda that way. But it's still not perfect: aren't love stories supposed to be about two people? Klute is too distant, we don't see enough of him to understand why Fonda would really develop feelings for this man.There are reminders throughout the movie that we are supposed to be watching a thriller. They take us by surprise because they are so out of place. Fonda's performance is worth the price of admission, but be prepared to sit through some extraneous content before you get to it.

gavin6942 A small-town detective (Donald Sutherland) searching for a missing man has only one lead: a connection with a New York prostitute (Jane Fonda).Jane Fonda won the Academy Award for Best Actress for her role in the film. And she is alright, and still receives such great praise. But come on... Donald Sutherland! That guy turns everything he touches into gold. Perhaps one of the most under-rated performers of the 20th 9and 21st) century.This is a great detective story with twists and turns. Alan Pakula is not a name that many people know, and I have to wonder why. He consistently made great films. Yet, you rarely hear anyone sing the praises of "Klute" or "The Parallax View". Shame on you, movie lovers!