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 world's headlines.
Alan J. Pakula
Norman is a curmudgeon with an estranged relationship with his daughter Chelsea. At Golden Pond, he and his wife nevertheless agree to care for Billy, the son of Chelsea's new boyfriend, and a most unexpected relationship blooms.
Lowly hotel clerk Matthew Welch stumbles unto a chance to go on a date with supermodel Hexina by pretending he is someone else. But something goes wrong on the date, she tries to kill him! ... See full summary »
A young writer goes to Wiesbaden to write about gambling and gamblers, only to ultimately become a compulsive gambler himself. Losing all his wealth, as well as his moral fibre, he commits ... See full summary »
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
Jane Fonda's Best Actress Oscar acceptance speech for this movie was one of the shortest in movie history: "Thank you...thank you very much members of the Academy and thank all of you who applauded. There's a great deal to say and I'm not going to say it tonight, I would just like to really thank you very much." See more »
When Klute is driving Bree home, the truck following them changes to a regular car between shots. See more »
Miss Daniels, can I ask you some questions now?
[notices Klute's surveillance gear]
You bastard! Is this a shakedown, hon'? 'Cause you picked a loser, I don't have it.
I'm looking for Tom Gr...
Jesus, do you think I'd still be living in this kip if I was still in the line fulltime? I'd be back on Park Avenue.
Can I ask you some questions?
Or you'll have me thrown back in the brig, you mean.
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"Klute" is a terrific showcase for its leading lady, but it isn't much as a thriller...
Permeated by a kind of haughty, stoned decadence, Alan J. Pakula's "Klute" concerns a sexy, shaggy prostitute in N.Y.C. who is the only real link to a missing family man from suburbia; a close friend of the man asserts himself as detective on the case, and after questioning the girl and trailing her, he finds himself drawn to her. Billed as a mystery-thriller, "Klute" is more of a dramatic character study, with preconceived plot threads devised by two screenwriters who can barely keep their secrets from spilling out. The final moments which piece the story together don't ring true (starting about the time Jane Fonda attacks Donald Sutherland and runs out into the street), but until then it's a dandy show-piece for Fonda, who gives an Oscar-winning performance. The ins-and-outs of the hooker-biz aren't really explored, but we get all we need just by listening to Fonda's dialogue (her complaints to her psychiatrist, her need for Sutherland's companionship) and by seeing her living alone in her apartment. For the actress, it's stellar work; for director Pakula, it's a bit thin around the edges. ***1/2 from ****
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