An ambitious reporter gets in way-over-his-head trouble while investigating a senator's assassination which leads to a vast conspiracy involving a multinational corporation behind every event in the worlds headlines.
Alan J. Pakula
Six months after the disappearance of Tuscarora, PA businessman Tom Gruneman, his boss, Peter Cable, and his wife, Holly Gruneman, hire Tom's best friend, private detective John Klute to find out what happened to Tom, as the police have been unable to do so, and despite John having no expertise in missing persons cases. The only lead is a typewritten obscene letter Tom purportedly sent to Manhattan actress/model/call girl Bree Daniel, who admits to having received such letters from someone, and since having received several obscene telephone calls as well. The suggestion/belief is that Tom was one of Bree's past johns, although she has no recollection of him when shown his photograph. Bree tricking is more a compulsion than a financial need. In their initial encounters, John and Bree do whatever they can to exert their psychological dominance over the other, especially as Bree initially refused to even speak to him. Despite their less than friendly start, they embark on a personal ... Written by
In the original script Bree's psychiatrist was male but Fonda felt in rehearsals, that the character would never open up to a man so she requested that the part be changed to a woman. Fonda requested to shoot the scenes with the shrink at the end of shooting so she would have already fully internalized the character of Bree. See more »
Bree's surname is inconsistent (Daniel or Daniels) throughout the entire movie. The end credits read Daniel. See more »
A fascinating study leading into the strange world of a complex call-girl
"Klute" was a mixture of lone cop and private eye: a police officer who was hired privately to investigate somebody's disappearance The trail led him deep into the world of New York call-girls, pimps and drug addicts It was all shown, the vice, the degradation, but with intelligent compassion and honest humanity instead of the leer that so often sits on the face of the Seventies
Although barely more talkative than "Dirty Harry," "Klute" emerged as a whole human being rather than as a robot programmed to shoot and hit And as a high class hooker Bree Daniel, Jane Fonda achieved a characterization that has never been surpassed in all the abundant literature of tarts with hearts
"Klute" was a modern, as honest and unflinching as any fanatic for realism could ask; yet it was never curious about sexuality, never needlessly violent, never brutal And for complete, entertaining suspense, it was up there with the great ones: an enormous tribute to the producer-director Alan J. Pakula
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