Cinema Revisited: Klute (1971)

Directed by Alan J. Pakula. Cast: Jane Fonda, Donald Sutherland, Roy Scheider, Charles Cioffi, Jean Stapleton, Rita Gam, Nathan George, Betty Murray. Released July 25, 1971. Running time: 114 minutes.

During the early part of the 1970s, the new freedoms in cinema were being utilized in interesting and creative ways, the best filmmakers not lazily resting on exploitative measures or gratuitious ness. This is especially borne in in "Klute," one of the more daring films for the period. Direction by Alan J. Pakula, the screenplay by Andy and Dave Lewis, and the performances by Jane Fonda as a prostitute and Donald Sutherland as a makeshift detective are what sustains "Klute," a neo-noir that is more sociological than psychological.

There are elements to "Klute" that would have been quite edgy for 1971 even when considering the new freedoms. Beginning at the end of the 1960s, cinema was exploring areas that were artistically restricted by the prevailing culture. Whenever prostitutes were portrayed in movies, it was never specified, their sexuality was suppressed, and they always had that stereotypical heart of gold. "Klute" avoids all of this, and is sometimes frank about the sexual proclivities of men, especially privileged ones in the business world. This sort of openness to subject matter would continue throughout the decade, redefining the ways and mores of the cultural while being inspired be some of the filmmaking approaches of classic Hollywood, for which there was a nostalgic interest.

Along with finding more expansive narrative uses of the new freedoms, films of the seventies also frequently explored paranoia and cultural detachment, while also paying homage to classic Hollywood. In "Klute," Donald Sutherland has the title role as a small town detective who comes to New York City to investigate the disappearance of a friend; a businessman who led a double life unbeknownst even to his wife. The man had a connection to big city prostitute Bree (Jane Fonda) who helps Klute solve the case.

Fonda's flamboyance is anchored by Sutherland's more subtle approach to his character, his economy of movement appearing both introspective and unsettled. The two of them are a perfect balance and carry the rhythm of the narrative. This doesn't mean that Fonda avoids subtle nuance throughout the film. One of her most effective moments is when Bree looks through police photos of murdered prostitutes with stoicism hiding suppressed emotion and gradually is brought to tears. It is not a sudden burst, but a slow succumbing that is effective for the character and for the scene.

Director Pakula's choice of camera angles and succession of shots are clearly inspired by classic film noir, while his lighting choices enhance every frame. Sutherland would later recall that rehearsals would be early in the morning and the actors would then wait for as long as three hours before shooting because the lighting of each scene was so intricate. The film's effective use of darkness and light supports the filmmaker's choice to give as much attention to this aspect of his project.

When exploring the film's backstory, it is interesting that Barbra Streisand was initially offered the role of Bree but turned it down. Her approach to the character would presumably be much different than Fonda's. Fonda herself felt inadequate playing the role, fearing she'd come off as an entitled woman pretending to be desperate and in need. She even suggested being replaced by Faye Dunaway, but Pakula wisely refused. Fonda ended up winning an Oscar as Best Actress.

"Klute" holds up well in the 21st century, although Pakula's penchant for holding shots and concentrating on the nuances of his actors is far different than the quick edits of the post-MTV-video cinema of the current era.

Note: watch for a young Sylvester Stallone as an extra in a club scene.