Klute

( 2 )

Overview

The first part of his "paranoia trilogy," Alan J. Pakula's 1971 thriller details the troubled life of a Manhattan prostitute stalked by one of her tricks. Investigating the disappearance of his friend Tom Gruneman Robert Milli, rural Pennsylvania private eye John Klute Donald Sutherland follows a lead provided by Gruneman's associate Peter Cable Charles Cioffi to seek out a call girl who Gruneman knew in New York City. The call girl is Bree Daniels Jane Fonda, an aspiring actress who turns tricks for the cash and...
See more details below
This VHS is Not Available through BN.com
Marketplace
BN.com

All Available Formats & Editions

Overview

The first part of his "paranoia trilogy," Alan J. Pakula's 1971 thriller details the troubled life of a Manhattan prostitute stalked by one of her tricks. Investigating the disappearance of his friend Tom Gruneman Robert Milli, rural Pennsylvania private eye John Klute Donald Sutherland follows a lead provided by Gruneman's associate Peter Cable Charles Cioffi to seek out a call girl who Gruneman knew in New York City. The call girl is Bree Daniels Jane Fonda, an aspiring actress who turns tricks for the cash and to be free of emotional bondage. Klute follows Bree's every move, observing the city's decadence and her isolation, eventually contacting her about Gruneman. Bree claims not to know Gruneman, but she does reveal that she has received threats from a john. As Bree becomes involved in Klute's search and realizes that she is in danger, she reluctantly falls in love with Klute, despite her wish to remain unattached to any man. When she finally comes face to face with the killer, however, she is forced to reconsider her detached urban life.
Read More Show Less

Editorial Reviews

All Movie Guide - Lucia Bozzola
With Gordon Willis' cinematography providing a shadowy and claustrophobic atmosphere, Alan J. Pakula adapts the conventions of 1940s film noir detective movies to examine the 1970s issue of the compromises faced by a woman trying maintain her freedom. Klute's air of stark gloom alludes to the pervasive personal conspiracies that put women at the mercy of a man's world; by the end, a crime may be solved, but the problem is not. Despite calls to boycott Jane Fonda's movies because of her anti-Vietnam War activism, Klute's timely subject matter found a substantial audience, firmly establishing Fonda as both a serious movie star and a feminist symbol. Her outspoken views did not prevent her from winning the Best Actress Oscar for the movie.
Read More Show Less

Product Details

  • Release Date: 11/29/1994
  • UPC: 012569102736
  • Original Release: 1971
  • Rating:

  • Source: Warner Home Video
  • Format: VHS

Cast & Crew

Performance Credits
Jane Fonda Bree Daniels
Donald Sutherland John Klute
Charles Cioffi Cable
Roy Scheider Frank
Dorothy Tristan Arlyn Page
Rita Gam Trina
Rosalind Cash Pat
Jerome Collamore Custodian
Richard Russell Ramos Off-Broadway Stage Manager
Joe Silver Dr. Spangler
Lee Wallace Nate Goldfarb
Tony Major Bill Azure
Morris Strassberg Mr. Goldfarb
Barry Snider Berger
Betty Murray Holly Gruneman
Jane White Janie Dale
Shirley Stoler Momma Rose
Robert Milli Tom Gruneman
Anthony Holland Actor's Agent
Fred Burrell Man in Chicago Hotel
Richard B. Shull Sugarman
Mary Louise Wilson Producer in Adv. Agency
Jean Stapleton Goldfarb's Secretary
Antonia Rey Mrs. Vanek, Landlady
Vivian Nathan Psychiatrist
Nathan George Lt. Trask
Candy Darling
Technical Credits
Alan J. Pakula Director, Producer
Irving Buchman Makeup
William C. Gerrity Asst. Director
George Jenkins Art Director
David Lang Producer
David Lange Producer
Carl Lerner Editor
Andy Lewis Screenwriter
Dave Lewis Screenwriter
John Mortensen Set Decoration/Design
Chris Newman Sound/Sound Designer
Ann Roth Costumes/Costume Designer
Michael Small Score Composer
Gordon Willis Cinematographer
Read More Show Less

Customer Reviews

Average Rating 4
( 2 )
Rating Distribution

5 Star

(1)

4 Star

(0)

3 Star

(1)

2 Star

(0)

1 Star

(0)

Your Rating:

Your Name: Create a Pen Name or

Barnes & Noble.com Review Rules

Our reader reviews allow you to share your comments on titles you liked, or didn't, with others. By submitting an online review, you are representing to Barnes & Noble.com that all information contained in your review is original and accurate in all respects, and that the submission of such content by you and the posting of such content by Barnes & Noble.com does not and will not violate the rights of any third party. Please follow the rules below to help ensure that your review can be posted.

Reviews by Our Customers Under the Age of 13

We highly value and respect everyone's opinion concerning the titles we offer. However, we cannot allow persons under the age of 13 to have accounts at BN.com or to post customer reviews. Please see our Terms of Use for more details.

What to exclude from your review:

Please do not write about reviews, commentary, or information posted on the product page. If you see any errors in the information on the product page, please send us an email.

Reviews should not contain any of the following:

  • - HTML tags, profanity, obscenities, vulgarities, or comments that defame anyone
  • - Time-sensitive information such as tour dates, signings, lectures, etc.
  • - Single-word reviews. Other people will read your review to discover why you liked or didn't like the title. Be descriptive.
  • - Comments focusing on the author or that may ruin the ending for others
  • - Phone numbers, addresses, URLs
  • - Pricing and availability information or alternative ordering information
  • - Advertisements or commercial solicitation

Reminder:

  • - By submitting a review, you grant to Barnes & Noble.com and its sublicensees the royalty-free, perpetual, irrevocable right and license to use the review in accordance with the Barnes & Noble.com Terms of Use.
  • - Barnes & Noble.com reserves the right not to post any review -- particularly those that do not follow the terms and conditions of these Rules. Barnes & Noble.com also reserves the right to remove any review at any time without notice.
  • - See Terms of Use for other conditions and disclaimers.
Search for Products You'd Like to Recommend

Recommend other products that relate to your review. Just search for them below and share!

Create a Pen Name

Your Pen Name is your unique identity on BN.com. It will appear on the reviews you write and other website activities. Your Pen Name cannot be edited, changed or deleted once submitted.

 
Your Pen Name can be any combination of alphanumeric characters (plus - and _), and must be at least two characters long.

Continue Anonymously
Sort by: Showing all of 2 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    Fonda dominates the rest of the cast, giving the best American portrait of a prostitute ever.

    Jane Fonda gives an absolutely brilliant performance for which she quite deservedly won a Best Actress Oscar. In this taut psychological thriller, Fonda plays Bree Daniel, a would-be actress-model who earns her living as a high-class call girl. The story concerns Klute (Donald Sutherland), a small-town policeman who comes to New York in search of a missing friend. He meets Fonda, and begins to fall in love with her. The murder mystery soon takes a back seat to one of the most affecting love stories of the '70s with one of the most memorable music scores provided by the underrated Michael Small. But it's Jane's picture all the way under the sure hand of director Alan J. Pakula. As Bree Daniel, Fonda is vulnerable, self-aware and articulate. Bree's knowledge that as a prostitute she has nowhere to go but down and her mixed-up efforts to escape, made her one of the strongest feminine characters to reach the screen in the '70s. As an actress, Fonda has a special kind of smartness that takes the form of speed she's always a little ahead of everybody, and this quicker beat--this quicker responsiveness--makes her more exciting to watch. This quality works to great advantage in her full scale, definitive portrait of Bree. As in many of her other dramatic roles, Fonda never stands outside her character, she gives herself over to the role, and yet she isn't LOST in it--she's fully in control, and her means are extraordinarily economical. She has somehow got to a plane of acting at which even the closest close-ups never reveals a false thought and, seen on the movie streets a block away, She's Bree, not Jane Fonda, walking toward us. It's hard to remember that this is the same actress who was the wide-eyed, bare-bottomed "Barbarella" or the anxious newlywed in "Barefoot in the Park". There wasn't another dramatic actress in American films at the time who could touch her. [filmfactsman]

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted August 4, 2010

    No text was provided for this review.

Sort by: Showing all of 2 Customer Reviews