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
Ellen Gordon, a New York executive's mistress falls for the executive's young business associate when the young man is accidentally sent to use the apartment where the executive and his ... See full summary »
Ella Connors is a single woman who gets pressured to sell her failing cattle farm to her corrupt ex suitor, Jacob Ewing. She asks for help from her neighbor, Frank Athearn. As Ella and ... See full summary »
Mike Vecchio and Susan Henderson are preparing for their upcoming wedding. However, they seem to be the only two people at the wedding that are happy. Mike's brother Richie and his wife ... See full summary »
In New York in the late 60s, a politically motivated group of students plans bombings of company offices who do business with dictators in Middle American countries. But when they contact a... See full summary »
Robert Allen Schnitzer
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
The scene with the psychiatrist was mostly ad-libbed. Pakula used just one camera and later said he should have used two as Vivian Nathan's reactions were much more interesting in the takes where the camera focused on Jane Fonda. See more »
When Bree has drinks with one of her clients in his hotel, there is much clinking of ice on soundtrack but no ice in drinks. See more »
Tell me, Klute. Did we get you a little? Huh? Just a little bit? Us city folk? The sin, the glitter, the wickedness? Huh?
Ah - that's so pathetic.
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This is without a doubt the most intensely atmospheric film I've ever seen, and certainly the best, tied perhaps only with Chinatown. Pakula's eye shows us the true grit and grime of the city that never sleeps. Klute was packaged as a suspense thriller, but it is so much more than that. It is also a character study (either of Bree herself, or the city itself). It is a love story. It is a study of urban stereotypes. And did I mention the music? The eerie scrapes, nervous marimba and fearsome humming will really creep you out, but the warm trumpets and delicate strings on the flipside are warm and enveloping. Anyway, back to the film. The slow scenes are equally crucial as the action scenes; the gorgeous sequence of Bree and John Klute shopping for oranges in the city market at night is a powerful statement that love can exist between opposites. Fonda's brilliantly improvised therapy scenes are explosive as they are heartrending. No actress, living or dead, can touch her. As the beautiful and confused Bree she is both vulnerable and in charge. The unraveling of her psyche is fascinating to watch, as is John Klute's repulsion and fascination with "the city folk". The final confrontation will disturb and haunt you for days. Bottom line, essential. No film will take you into its world quite like this one. They just don't make 'em like this anymore.
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