| Warner Bros. | Release Date: June 25, 1971 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
13
Mixed:
2
Negative:
0
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Critic Reviews
Klute still perhaps stands as Pakula's finest moment. Informed in part by the conventions of film noir - duplicitous female, ambitious private investigator, and murky goings on of the sexual variety - Klute manages to distill them all into something highly original and distinctly unsettling.
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Jane Fonda gives what remains the best performance of her career as a confident, self-aware call girl in a riveting thriller by a master of paranoid conspiracy cinema that explores feminism and the darker side of inner-city life. [10 Jun 2012, p.48]
In Klute you don't have two attractive acting vacuums reciting speeches at each other. With Fonda and Sutherland, you have actors who understand and sympathize with their characters, and you have a vehicle worthy of that sort of intelligence. So the fact that the thriller stuff doesn't always work isn't so important.
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Alan J. Pakula directs with an aptly chilly eye on blue steel and grey walls, favouring whirring tape recorders and silently lurking voyeurs. Sutherland's melancholy title character is constantly challenged and prodded into the background by Fonda's Oscar-winning turn, which takes centre stage until the film becomes more obsessed with probing the riddles of her personality than solving the fairly transparent mystery.
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Jane Fonda in possibly her finest dramatic performance, as Bree, an intelligent, high-bracket call girl, in Alan J. Pakula's murder-melodrama.
The dread and unease that suffuse the film — never has the peal of a rotary phone sounded more terrifying — seem rooted partly in anxiety over second-wave feminism, the cresting of which nearly coincided with the release of this movie, one that centers on its heroine’s profound ambivalence about growing emotionally attached to a man.
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One of the best things the highly variable Jane Fonda has ever done.
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