Directed by Alan J. Pakula
A high-priced call girl is forced to depend on a reluctant private eye when she is stalked by a psychopath.
Jane Fonda Donald Sutherland Charles Cioffi Roy Scheider Dorothy Tristan Rita Gam Nathan George Vivian Nathan Morris Strassberg Barry Snider Betty Murray Jane White Shirley Stoler Robert Milli Anthony Holland Fred Burrell Richard B. Shull Mary Louise Wilson Marc Malvin Jean Stapleton Jan Fielding Antonia Rey Robert Ronan Richard Russell Ramos Rosalind Cash Sylvester Stallone Jerome Collamore Candy Darling Kevin Dobson Show All…
コールガール, Una squillo per l'ispettore Klute, Klute - En smart snut, 柳巷芳草, Η Εξαφάνιση, נערת הטלפון והבלש, Klute, O Passado Condena, Клют, Клут, 클루트, El pasado me condena, کلوت
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JapanR18+ 
Germany16 
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Mexico 
Hungary Brazil14 Argentina Australia Brazil Canada France Germany Hong Kong Hungary Ireland Italy Japan Mexico UK USA 
that one shot of Sutherland checking the peaches for ripeness, man
LOVED THIS!!! Jane Fonda’s layered performance as Bree is magnetic, constantly pushing and pulling; every capricious line delivery is a riveting surprise. she’s simultaneously blunt and charming, nervous and brave, cold and warm to the point that the film drags whenever she’s not lighting up the screen, the semi-tired mystery elements paling in comparison to the thrill of excavating Bree’s character. the portrayal of sex work is also light years ahead of its time, being careful to acknowledge that Bree’s waffling between quitting and continuing is rooted in her trauma from men’s violence rather than shame. trauma is also represented in a way that doesn’t shy away from the stark reality: Bree wakes up screaming most nights, goes to therapy, and…
"He's seen my horrible. He's seen me ugly. He's seen me mean. He's seen me whorey. And it doesn't seem to matter. And he seems to accept me. And I guess having sex with somebody and feeling those sort of feelings towards them is very new to me. And I wish that I didn't keep wanting to destroy it."
jane fonda's performance is revelatory, she doesn't miss a step. i always bristle a little when a movie ties sex work to trauma as though it's only for damaged people, but for 1971 this film's attitude about bree's life is so respectful. she has a speech about the control and power she feels in sex work versus the powerlessness she feels…
should i stop dressing like a clown and start dressing like jane fonda in klute
wish i liked this more but i still liked it! jane fonda, what needs to be said? and that score is beautifully haunting. i can’t say it loses steam in the second half but it definitely doesn’t embrace what the first half had going for it. i think one of my biggest take aways is that adam driver is the sequel to donald sutherland.
there's something so special about the street market scene oh my god
"For an hour... I'm the best actress in the world."
I'm rather torn about this movie. On the one hand, it's lit and shot quite brilliantly and in a way that I find severely lacking in most of the movies I see today. On the other hand, I found the story to be a bit shaky and hit-or-miss, with some scenes really hitting it out of the park and some missing their mark entirely. Donald Sutherland and Jane Fonda give pretty great performances, and Fonda's character is interestingly complex. There are some hints at themes of surveillance and paranoia and the psychology of love. The problem for me was that ultimately it didn't feel like it all added up to anything coherent. I would definitely recommend this to anyone interested in the 70's noir revival aesthetic or anyone interested in hooker-with-a-heart-of-gold characters, but for me it was definitely the weak link in Pakula's paranoia trilogy. Good but not quite great.
for a minute when they are on the street buying peaches, it feels like it becomes a different movie. bree stands and falls into some sort of dream, and becomes faceless and bodiless, and everything happens around her but not to her. and then klute drifts into her, and she is awoken from it. but for a moment everything was perfect — was as wished for.
every second of jane fonda’s performance is stunning.
"I'm the best actress in the world."
I like how Bree continues to go to therapy during all this. Essentially structured around a series of various types of interviews, which is great for giving Fonda one complicated monologue after another (all of which she nails) but has the side effect of the movie doing all your homework for you. As good as she is here, she's rarely not saying exactly how she feels or bluntly articulating the major themes of the movie. Pakula and Willis completely overpower that though by covering everything in a layer of dread, frequently dwarfing the characters in big scope frames and often alienating them from each other even when they're in the same shot.
i loved that the men were often incomprehensible black masses shot incredibly close up while jane fonda lit up the other half of the screen
also: jane fonda's snot <3
35mm. Metrograph.
very hot very mysterious very delicious, just exactly the type of shit i live for. jane fonda just wanting to be faceless, bodiless and left alone? girl same!
