Klute was a daring film for its time not only because it centered around a call girl, but because it featured an independent woman who was in control of her sexuality. Not only that, she spoke about sex frankly (it is her vocation, after all), which must’ve been shocking when it was first released. As played by Jane Fonda, the character of Bree is one of her most memorable, not just because of the character’s explicit discussions, but because of the humanity that she brings to the role. If the character of Bree was something of a revelation (at least in big budget studio films of the time), the movie itself is rather standard issue.
Donald Sutherland stars as the title character. He’s a strait-laced cop who is on the search for a missing businessman. His only lead is Bree, a call girl the man frequented. She’s also been getting obscene phone calls from a stalker who just may have murdered Klute’s missing man.
He may have his name in the title, but Klute sure as shit plays second fiddle to Bree. Sutherland’s not bad in the role, it’s just that it’s flimsily written, which is strange given the fact the movie is purportedly about him. I bet director Alan J. Pakula sensed the detective story angle was an old hat and decided to focus in on Bree instead. In fact, the movie is at its best when the two are in the midst of their will-they-won’t-they affair. It’s when the killer plot starts to sneak in does the movie feel routine. The climax is a bit of a mixed blessing because it’s more of an emotional confrontation than a physical one. While it works for the character of Bree, fans of thrillers in general may feel a tad disappointed by the finale.
The fact that Klute still feels a bit trailblazing after all these years is a testament to Fonda. The famous scene where she is in the throes of passion with a client and then stops a beat to check her watch is justifiably a classic. Too bad you’ll be checking your watch too during the slower sections of the film.
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