🎦 Klute full movie HD download (Alan J. Pakula) - Thriller, Mystery, Romance. 🎬
Thriller, Mystery, Romance
IMDB rating:
Alan J. Pakula
Jane Fonda as Bree Daniels
Donald Sutherland as John Klute
Charles Cioffi as Peter Cable
Roy Scheider as Frank Ligourin
Dorothy Tristan as Arlyn Page
Rita Gam as Trina
Nathan George as Det. Lt. Trask
Vivian Nathan as Psychiatrist
Morris Strassberg as Mr. Goldfarb
Barry Snider as Berger
Betty Murray as Holly Gruneman
Jane White as Janie Dale
Shirley Stoler as Momma Reese
Robert Milli as Tom Gruneman
Storyline: John Klute's friend has totally disappeared. The only clue a connection with a call girl, Bree Daniels. Klute taps her phone in order to gain evidence against her to blackmail her into helping him find his friend. While Klute searches, someone is stalking Bree.
Type Resolution File Size Codec Bitrate Format
HQ DVD-rip 640x256 px 1399 Mb mpeg4 1526 Kbps avi Download
Fonda's Peak
Jane Fonda gave the greatest performance of her career in "Klute" as Bree Daniels, a high-class call girl. She does it all here, a gutsy soul-deep performance that seems to express every thought and feeling effortlessly and penetratingly. Prior to this in her career, she often seemed callow and unformed and in most of her later performances she seemed more intent on image-making and message-making rather than reaching deep into her soul and delivering a great performance. This one, however, is a treasure where everything seemed to come together beautifully. She is vulnerable, intelligent and real every step of the way - there are moments you will never forget from her performance.
A(nother) '70s gem.
A truly wonderful exercise in creating an inescapable atmosphere that moves back and forth between raw drama and haunting thriller. Jane Fonda plays a magnificent, very intense role (check out that free spirited lingo!) which even outshines the part played by the great Donald Sutherland. Maybe even Charles Cioffi outshines him (or better said: his part) by playing a well-dressed, well-mannered but innerly deeply disturbed man. Of course all this works so well because of Alan J. Pakula's fantastic artistic vision, who knows just how to capture a sphere of fragile intimacy that can suddenly change into one of unrelenting terror.

Although the killer may be obvious to most viewers quite early on, it hardly takes the edge of the suspense. Klute does save the day in a quite convenient way in the end, which is on some level a relief of course, but how realistic is it? I think also that, logically, Klute could have done more and been more thorough in checking certain things out. For instance the fact that the killer had to be known to Tom Gruneman; Klute could simply have gotten photos of most people surrounding him and shown them to Bree for identification.

But the points of critique kind of drown in the atmospheric gem that Klute simply is, working its way through themes such as love, obsession, madness, loneliness, dependency, control, curiosity... I could go on, but I'll leave it at that.

A true classic; almost 10 of out 10!
KLUTE is haunting. Fonda is brilliant.
Jane Fonda was honored this month with the American Film Institute's 42nd AFI Lifetime Achievement Award at a gala event in Los Angeles. In tribute to Fonda, AFI showed a retrospective of her works. At the AFI Silver Screen Theatre and Cultural Center in Silver Spring, MD (a Washington, DC suburb), I sat in its smallest theatre to watch my favorite Fonda film, KLUTE, the 1971 mystery/thriller for which Fonda won an Academy award for Best Actress.

KLUTE is an enigma. Dark, in its cinematography and its subject matter. A thriller/mystery whose mystery is revealed midway through the film because it is not the 'who done it' that is at the heart of this film. At its essence KLUTE is an invitation to witness a lifestyle we would never want to inhabit but piques our curiosity and titillates. Fonda's character, Bree Daniels, is an aspiring actress and an experienced call girl. Her three-act plays performed in hotel rooms where anonymous men are her appreciative collaborators. She confides to her psychiatrist that these dalliances with men are better than her acting auditions because in the former she always gets to play the part.

Fonda gives flesh and complexity to her character. She is physically, emotionally and mentally agile in this role with moments of brilliance that are startlingly effective. Donald Sutherland plays her foil and later protector with a sameness that makes him charming. The word 'nerd' had not come into fashion when this movie was made but Sutherland's John Klute is just that. A moral square from a small Pennsylvania town who is thrust into New York City's seamy scenes of drugs, prostitution and free love. His straightness is not hypocrisy. He is not like her other Johns. His steadfastness is the lure that eventually catches her.

The two other stars of the movie are the cinematography by Gordon Willis and the film's use of audio. Best known for his work as Director of Photography on the Godfather trilogy,Willis didn't receive an Oscar nomination for his work on this film but he should have. KLUTE is his palette for contrasting scenes of flat color, silhouette and neo-noir realism. Martin Scorsese says of Willis' work in this film: "There are movies that change the whole way in which films are made, like Klute, where Gordon Willis's photography on the film is so textured, and, they said, too dark."

We hear a lot of Fonda's voice in KLUTE. At the psychiatry sessions, in the acting auditions, in the one-sided conversations her character has with men who call to introduce themselves and set up dates.

The murderer in KLUTE likes to audiotape his interactions with women and he seems obsessed with Daniels. We watch the tapes twirl on a small recorder as he listens to her "come hither" chatter over and over, her words inadvertently giving him permission to confuse his acts of violence against prostitutes as free-spirited nonconformity, "…there's nothing wrong in what you want."

Private Investigator, Klute is also listening after he wiretaps Daniels' apartment to acquire information that will help him solve what he thinks is a simple missing person case.

In KLUTE we are eager eavesdroppers and voyeurs. Fonda makes us want to watch. She strips off her clothes with deliberate nonchalance. Her seventies bohemian haute couture and bob hair style brings a smile. Her vulnerability in the riveting, minutes-long, close up scene at the film's climax is powerful. She has become Bree Daniels and we feel her pain.

If this film were made today, Director Alan Pakula would likely elongate the climax by adding slow motion or slowing the cuts and putting more light on the subject to extend the fear. Yet, he makes KLUTE interesting to watch throughout.

Sutherland's pouty lips and placid eyes make him as adorable as a beagle. The panoramic shot of models lined up for a cosmetics casting call is fascinating. Roy Scheider's easy meditation on "pimpdom" is at once sexy and dangerous, and fun to watch. The scenes of the late 60's/early 70's disco culture are spot on.

Do yourself a favor and give KLUTE a viewing. AFI will celebrate Jane Fonda at its tribute which will be shown this month on both TNT network and Turner Classic Movies (TCM).

DIR/PROD Alan J. Pakula; SCR Andy Lewis, Dave Lewis. US, 1971, color, 114 min. RATED R.
Stalk and talk...
Another gritty, very adult drama from Alan J Pakula, using a plot device, (the invasion of privacy and surreptitious spying) which would be integral to at least two more of his succeeding 70's classics "The Parallax View" and of course "All The President's Men".

As someone has rightly observed on these pages, the only justification for entitling the movie "Klute" is that it's a funky charismatic name as the beating heart and soul of the piece is clearly Jane Fonda's streetwise but still vulnerable call-girl, who finds herself inveigled into a private missing-person's enquiry taken on by family friend / private eye Donald Sutherland, the eponymous (John) Klute.

An engrossing if at times difficult watch, the movie is particularly explicit in its use of frank sexual dialogue, if ultimately kow-towing to the censors in its physical depiction of same ("Last Tango in Paris" was just around the corner). The movie uses stock Pakula trademarks of static shots of scenes or objects from unusual angles, often in semi-darkness, drawing in the viewer to the seedy world New York prostitutes inhabit and at the same time heightening the related sense of discomfort, anxiety, indeed paranoia which the stalker here conveys. A similar methodology was used successfully in the modern French classic "Cache" which I thoroughly recommend. The film wraps up with a violent death solving the less important "whodunnit" question but more relevantly runs onto an ambiguous sort of spiritual redemption for Fonda's Bree Daniels character. It's no more than she deserves.

Fonda is terrific in the lead, wholly deserving of her Oscar plaudits, in character from the start and conveying her character's at times savvy, at times neurotic traits. She seems to be in almost every scene, her voice a constant atmospheric, accentuated by the constantly replayed tape recording of her "getting into character" for a client ("Nothing is wrong...").

Sutherland has less to do as the stoic, unfeeling "straight" who despite himself finds himself drawn to at first protect and then in fact fall for Fonda's character. He would get more to do (and do it well) as a protector-figure in Roeg's brilliant "Don't Look Now" which followed a year or two later. That said, there's genuine chemistry in their scenes together. After a first cold, sexual liaison born of Fonda's high anxiety under duress, there's telling subtlety at work as we see them coming together naturally as the film progresses, as seen in the almost silent scenes where he sits her down and bows her head at the site of her ransacked apartment and the surprisingly tender scene where he buys her fruit at a street market, to her great bemusement. The rest of the support is generally fine, including Roy Scheider in an early role as Fonda's sometime pimp.

Mention should be made too of Gordon Willis' muted cinematography, all dark greys and browns, even when on location in the streets of NYC - no sunlit exteriors here and also an excellent soundtrack, the "surveillance" scenes in particular heightened by a keyboard motif which falls on the ears like sharpened icicles.

In the end though it's Pakula's directorial vision which imposes the necessary sense of ugly realism, distasteful as it is, in the seamy underworld of a big city in which the characters here play out their murky, seedy other-existences, they hope, in private. Where that privacy is lost or compromised, as the film makes clear, corruption, exploitation and often danger soon follow...
Restrained, filled with delicate ambiance, and yet gritty and unapologetic. A special film.
Klute (1971)

Director Alan Pakula's willingness to slow the pace down and let the grimy reality of 1970 New York City creep in is a trademark of this now-classic. The main crime plot itself is a twist on a twist, and in reality isn't much to hang on to, unless you realize right away that the plot is about a relationship, and the detective stuff, in good Hitchcock fashion, is a vehicle for the romance.

But what an original romance this is, and pulled thin and taut, depending equally on Jane Fonda and Donald Sutherland, an unlikely pair who, by the end, almost define the feeling of the movie as endlessly incipient. They, too, are always waiting to happen.

Klute is a necessary piece in the bubble of great films of this late 60s early 70s period. Compare its feeling to something like Billy Wilder's The Apartment for how ordinary New York is handled. The fact that Fonda plays a prostitute is another issue altogether, and a sign of America's willingness to have frank and formerly forbidden subjects for their films. Of course, a closer comparison is the 1969 Midnight Cowboy with its own grittiness and prostitution, and Klute holds up pretty well against that more intense and moving breakthrough film by Schlensinger.

This is Pakula's second film, and a long career follows with some great and varied movies, but in a way it gels here, and feels nicely resolved and mature (he is in his 40s when it was made). It's not sensational by any means, a small victory in itself. Very much recommended, a suck you into another milieu kind of film, with more sweetness than you expect.
Creepy, defining classic of the 70's
Accented throughout by the late Michael Small's unsettling piano-&-stoned-soprano soundtrack, "Klute" is one of the defining films of the 1970's. Fonda plays an NYC call girl named Bree Daniels attempting to break free from her sordid past who is being stalked by an ex-john into S&M sex. Sutherland is her hero John Klute, a very decent guy from Pennsylvania who works as a private investigator looking for a missing man who may have been this very client. Naturally, they fall in love, but it is an often brutal experience emotionally because Bree is a cold-hearted tart who has been in the business so long she is incapable of having an orgasm. Jane is phenomenal throughout, including her sessions with a psychiatrist (which have the feel of pure improv) and auditioning for a play (I thought she was pretty good) and Sutherland lends solid support, even if his face remains pretty much poker.
Almost a masterpiece
Alan J. Pakula's intelligent and thought-provoking character study about the life of high-class prostitute/struggling actress Bree Daniels and her emotional unraveling as private investigator John Klute(Donald Sutherland) probes the seedy world she lives in while searching for his missing friend.

One of the '70's finest due in part to a high level of craftmanship in every department: Pakula's deliberate pacing and treatment of the script, Michael Small's tingling music with the soft-screaming voices, perfectly cast supporting players who are riveting even in the smallest of scenes and, most importantly, superb cinematographer Gordon Willis's dark and shadowy look that almost always presents somebody lurking in the fore-and-backgrounds in nearly all of Fonda's scenes giving Klute a disturbingly intense complexity that is absent in most thrillers.

There are a few film performances that I would say rank as great art: Falconetti in The Passion of Joan of Arc, Louise Brooks in Pandora's Box, Brando in Streetcar, Pacino in The Godfather, Gena Rowlands in A Woman Under the Influence, DeNiro in Taxi Driver, and Jane Fonda in Klute. Even if she brings a sneer to your face these days, Klute shows she was an artist at the height of her craft: her obviously improvised therapy scenes, her use of silence and stillness in the film's climax, her body language whenever Bree is alone on screen, the long uninterrupted takes where she and Sutherland interact, and especially the sequence where Bree shuts down and goes to a club to relieve the mounting tension only to wind up curling in her pimp's lap show a beautifully studied and carefully crafted exploration of a human being trapped by her environment but who oh-so-desperately wants out. Pauline Kael said at the time about her work here that "no other American actress can touch her": nobody has since either.

Donald Sutherland is a consistantly strong actor who compliments Fonda quite well; his John Klute is a quiet skeptic who's both repelled and fascinated by Bree's world and when these two are alone on screen, a unique intelligence is displayed and it makes for compelling viewing. It's a testament to the director and the actors that in spite of the shag haircuts, street slang, and funky '70's wardrobe the 31 year old film holds up as well as it does.

An almost perfect adult thriller that is still powerful, scary and penetrating and makes most other character-driven pieces look amateurish and clumsy.

F.T.R.- watch for a sexy, pre-Knots Landing Kevin Dobson as the tablemate of the young man Fonda seductively teases in the club.
Cool and intelligent
Alan J. Paluka made a trio of taut conspiracy thrillers in the early 1970s; 'Klute' was the first, to be followed by 'The Parallax View' and 'All the President's Men' (the latter being the true story of Watergate). In places, 'Klute' is a bit clunky, and Jane Fonda is utterly unlikely playing a call girl, but what strikes one more than anything is the film's cool maturity. The motivations of Donald Sutherland's eponymous title character (and indeed, of just about everybody else) remains hidden throughout the story; the film makes little attempt to establish its characters as likable (though this may be an unfortunate by-product of Fonda's failings) or the plot as clear. As with Paluka's other movies of this period, we're left feeling that this is a movie that never quite leaves its introductory phase - but only because we've been taught to expect that after 20 minutes, everything is spelt out, the hero is clearly identified, and so on. 'Klute' isn't my favourite film; but it is an interesting reminder of how much more intelligent Hollywood once was than it now is.
Sutherland wonderful, Fonda not quite there.
I love Jane Fonda. I see that others found her acting in Klute artless. I found it - not quite there yet. For me, it's Sutherland who has really found his character. Fonda seems to be getting there, but doesn't quite have it. I never forget, not once during the movie, that Bree (her character) is Fonda.

Part of it is that accent. It screams California to me. Maybe the movie would have worked better set in LA? I suppose Bree could be supposed to have moved from CA to NYC, but I don't pick that up as part of her story. I'm not saying that they should have spelled it out. The accent makes me really curious about Bree's journey. It seems so out of place in NYC squalor: too California, too rich, too cultivated. She's come a long way; chasing something, escaping something? She gets into this a little with her therapist. But somehow, I just find Fonda's portrayal not nuanced enough. The movie revolves around Bree's toughness, despair, unfocused hope. But Sutherland's performance is the one that seethes with these things.

What really makes that sad is that Fonda seems to get all the good lines, while Sutherland's character is underwritten!

The cinematography is great. The writing is sometimes brilliant, though the story seems rushed; it doesn't quite seem to know whether it wants to focus more on the mystery or more on giving us insight into the characters' separate journeys as they join together.

This could have been a great movie. It's certainly a good one.
"What kind of party did you have in mind?"
So I'm pondering the resolution to the murder mystery here and it leads me to the sixty four thousand dollar question - what the heck was Peter Cable (Charles Cioffi) thinking? Unless I'm missing something here, Cable hired private detective John Klute (Donald Sutherland) to essentially find himself, who admitted near the finale to Bree (Jane Fonda) that he killed three people. Why not just give himself up instead of making a cat and mouse game out of it? I guess he wanted to jump out of that window.

Oh well. I recall this film coming out with some fanfare back in 1971 because of it's subject matter. Fonda and Sutherland were breaking out as legitimate stars and the culture was beginning it's nosedive with movie treatments about free love, prostitution, drugs and you name it. It was epitomized here when Bree defends her lifestyle to her shrink - "There's nothing wrong, nothing. Nothing is wrong." This all led to 'let it all hang out' and from there society continues in free fall to this day.

In it's day the picture was pretty daring but it would hardly register a ripple today, which is when I saw it for the first time. I'll admit grudgingly that Fonda's performance was pretty good; as for Sutherland, I'll have to blame the director for his lifeless portrayal here as the title character. One could make an argument that this is one of those early Seventies films that are must see, but once it got under way I thought there would be more of a mystery to the story.
📹 Klute full movie HD download 1971 - Jane Fonda, Donald Sutherland, Charles Cioffi, Roy Scheider, Dorothy Tristan, Rita Gam, Nathan George, Vivian Nathan, Morris Strassberg, Barry Snider, Betty Murray, Jane White, Shirley Stoler, Robert Milli, Anthony Holland - USA. 📀