Lovesusti The Worst Film Ever

Inclubabu Plot so thin, it passes unnoticed.

PiraBit if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

Motompa Go in cold, and you're likely to emerge with your blood boiling. This has to be seen to be believed.

alexanderdavies-99382 "Klute" comes from the same director who gave us "The Parallax View" - Alan. J Pakula. The above film is easily in the same league as other early 1970s American cinema. There isn't much in the way of actual graphic violence but the suggestion of violence is clearly there. The film is quite explicit in its sexual content but that is mainly presented in the background. Alan J. Pakula uses dark photography and harsh lighting to excellent effect, especially with the gripping climax. There is a lot of detail to the plot and every scene counts for something. Jane Fonda rightly earned her Oscar for Best Actress - her performance is a convincing and multi- dimensional one. She conveys by turns, feelings of toughness, coldness but also those of vulnerability as the prostitute of the film. Donald Sutherland scored heavily in his role as the police officer who then becomes a private eye. He should have been nominated. Roy Scheider is excellent as the pimp and drug dealer. He doesn't have much screen time but he makes his presence truly known. Charles Cioffi is positively creepy and sinister in his role. The screenplay is an exceptional one. The thing about the dialogue, is that it takes actors and not stars to bring the well developed characters to life and provide some depth. A star simply isn't heavyweight enough for the job. The plot follows the efforts of Donald Sutherland who is employed to locate a missing research scientist. The latter was mixed up with Jane Fonda in the movie and the twists to the tale soon develop. There are a few graphic references to drug use. New York is the ideal setting for the film. We really see the seamy underbelly of the city - just like in "The French Connection" as an obvious example. This is the kind of film that Hollywood has long forgotten how to make - sadly.

sol- Tracking down a man who mysteriously vanished, a private detective encounters a call girl frightened by threatening phone calls that may be linked to the disappearance in this stylish if convoluted Alan J. Pakula thriller. A master of suspense and paranoia, Pakula films the material well, favouring dark lighting and mobile camera-work. An especially memorable bit has the camera ever-so-slowly zoom out while our heroine stares into the black of night with her phone ringing ominously on the table beside her. Effectively filmed as 'Klute' may be, the screenplay pulls in too many directions at once and a second viewing does little to help. Initially, the film is about the search for the missing man, but then it turns into a character study of Jane Fonda's call girl who is unsure why she loves prostitution, then it becomes a romance, despite little chemistry between Donald Sutherland and Fonda, then it becomes character study and missing person mystery thriller again. A second viewing does, however, reveal more depth to Fonda's performance; her confession scenes, rationalising that prostitution is "an act" that makes her feel like she has "some control" are excellent, if infrequent and interspersed with moments in which she simply has to look scared. The photography by Gordon Willis and atmospheric music, courtesy of Michael Small, are superb too and provide the movie with an unshakable sense of dread. This is not a film to watch for its story. It is, however, a film to watch for its portrait of characters caught up in a frightening world that they cannot, for all their efforts, really control.

skeptic skeptical We all like stories with happy endings, and what better ending could there be than the reclaiming of her life and dignity by a "working girl", a prostitute who slept with thousands of men as a source of income while renouncing the very notion of true love? One fateful day, a dashing detective arrives on the scene to investigate a missing person case and changes her life forever. The plot is suspenseful and well-paced, but more than anything else, Klute offers a very positive view of a prostitute, played by Jane Fonda, who we learn is really an aspiring actress. She hasn't had much luck scoring modeling or theater gigs, so what's a girl to do? Why become a prostitute, of course! Is this how it happens? I know that aspiring actresses are sometimes lured into making porn flicks, tricked into believing that doing so might open doors to the mainstream movie world. But do thespians become hookers? Maybe a few of them do. My impression is that they are more likely to become waitresses and the like. It's true that prostitutes earn more money, but is that enough of a lure to forsake the prospect of intimacy in a normal relationship?No matter. Dreams do come true. Knights in shining armor exist who will overlook years of a woman's turning tricks in exchange for hooking up with them. Donald Sutherland seems pretty sincere, but does this ever really happen in reality? I have to ask.

MisterWhiplash Jane Fonda as the call-girl/wannabe actress Bree Daniels, with a superb hair-do and a (mostly) take-no-s*** personality is the reason to see Pakula's Klute, despite being named after the male main character. It's such a performance - and a character - that is risible and powerful in its confidence, dynamic, occasionally frightened, occasionally VERY sexy, volatile, and gives a lot in those psychology sessions that are basically to the camera/us. She looks like she's constantly THINKING even as she is reacting with a cutting remark or a cut-the-BS moment. And when she makes that talk-seduction of the old man, it's one of the most memorable moments in any 70's film.Sutherland is very good as well, though he has the trickier role as he has to downplay everything as the straightforward cop. The final monologue is gripping and intense from the villain, and yet it's one of those handful of villain monologues that really not just hold up over time, but show up so many others in its wake. It's terrifying in how simple the actor speaks the words and Fonda listens. Klute isn't all great, but it's all of a cool, rocking-but-eerily-jazzy 70's period piece too (think of it, in a way, as the East-Coast sister to Dirty Harry).I wish the plot were just a little stronger, but as a film that relies on its characters it fares quite well. Luckily, Gordon Willis - on the film that likely got the ball really rolling with his nickname "The Prince of Darkness" - is there to make things look unique in the noir-frame of the style. It's so dark you might be left in the dark... until you're not.And Roy Scheider is here, intermittently only (sadly) as a pimp. Chief Brody as a pimp. Need I say more?