Enjoyable and well made, though it doesn't make a major impression with me
I admit I find myself surprised. I was aware of this by name long before watching, and I recognize the esteem in which it is held in various regards. For as much as I do enjoy 'Klute,' though, I don't think I can say that it makes much of an impression with me. All the right parts are there, but between the broadly honored original screenplay of brothers Andy and Dave Lewis, and the direction of experienced director Alan J. Pakula, to me the picture comes off rather softly much more than not.
In general the narrative seems quite loose in following private investigator Klute and beleaguered sex worker Bree, not least as Klute's investigation into the disappearance of a businessman and his seeming connection to Bree doesn't seem to particularly be going anywhere for most of the length. It's like that until all of a sudden the underlying plot is laid bare as one piece of information in the back end unlocks the whole case, and that tenor is maintained through the climax. In being so plainspoken, the resolution of the climax in particular comes across to me as hasty and disjointed, and though I appreciate the elegant manner in which the denouement is executed, what preceded it stands out more to me.
Those issues of storytelling are perhaps more unfortunate owing to the tack that Pakula adopts in realizing the material. Not in the slightest do I mind the low-key, understated tone here, for some incredible films have been crafted in much the same way. "Low-key" and "understated" are one thing, however, and "dispassionate" is another. Bree is a very troubled woman, and she is frightened and harassed, but for my part I just don't think those feelings come across through Pakula's direction, and because of Pakula's direction they struggle to be conveyed even in Jane Fonda's award-winning performance. I can discern that investigator Klute is designed to come off as dull and somnolent in his mannerisms and speech as an extension of the notion of the small town man in a big city, but to me Donald Sutherland is kind of just a set piece here. With these factors well in mind, I believe the feature has a hard time cultivating any of the thrills, drama, or noir vibes that it intends. To whatever degree it does so, that's mostly owing to the superb original music of Michael Small, a collection of shrewd, delicate themes that communicate the ambience of Something Very Wrong.
Oh yes, at large the movie is well made. Even as I say that, however, I'm not so keen on the choices of lighting and cinematography wherever scenes take place in dim light or at night; like other titles throughout the years, 'Klute' runs into the problem of making the goings-on difficult for viewers to see at all, and that's simply not necessary. And all told, for as promising as the premise is, and for all the potential in the story, the cast, and in other bits and bobs, I just think the sum total feels sort of common and unremarkable. It's a good time, and the whole is duly satisfying; it's worth watching on its own merits. It's just that "duly satisfying" is not a phrase that carries significant enthusiasm, so while I would suggest watching 'Klute' if one has the opportunity, I would also say that recommendation falls on the lighter side of the spectrum.
In general the narrative seems quite loose in following private investigator Klute and beleaguered sex worker Bree, not least as Klute's investigation into the disappearance of a businessman and his seeming connection to Bree doesn't seem to particularly be going anywhere for most of the length. It's like that until all of a sudden the underlying plot is laid bare as one piece of information in the back end unlocks the whole case, and that tenor is maintained through the climax. In being so plainspoken, the resolution of the climax in particular comes across to me as hasty and disjointed, and though I appreciate the elegant manner in which the denouement is executed, what preceded it stands out more to me.
Those issues of storytelling are perhaps more unfortunate owing to the tack that Pakula adopts in realizing the material. Not in the slightest do I mind the low-key, understated tone here, for some incredible films have been crafted in much the same way. "Low-key" and "understated" are one thing, however, and "dispassionate" is another. Bree is a very troubled woman, and she is frightened and harassed, but for my part I just don't think those feelings come across through Pakula's direction, and because of Pakula's direction they struggle to be conveyed even in Jane Fonda's award-winning performance. I can discern that investigator Klute is designed to come off as dull and somnolent in his mannerisms and speech as an extension of the notion of the small town man in a big city, but to me Donald Sutherland is kind of just a set piece here. With these factors well in mind, I believe the feature has a hard time cultivating any of the thrills, drama, or noir vibes that it intends. To whatever degree it does so, that's mostly owing to the superb original music of Michael Small, a collection of shrewd, delicate themes that communicate the ambience of Something Very Wrong.
Oh yes, at large the movie is well made. Even as I say that, however, I'm not so keen on the choices of lighting and cinematography wherever scenes take place in dim light or at night; like other titles throughout the years, 'Klute' runs into the problem of making the goings-on difficult for viewers to see at all, and that's simply not necessary. And all told, for as promising as the premise is, and for all the potential in the story, the cast, and in other bits and bobs, I just think the sum total feels sort of common and unremarkable. It's a good time, and the whole is duly satisfying; it's worth watching on its own merits. It's just that "duly satisfying" is not a phrase that carries significant enthusiasm, so while I would suggest watching 'Klute' if one has the opportunity, I would also say that recommendation falls on the lighter side of the spectrum.
- I_Ailurophile
- Apr 19, 2025