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    A doctor's office.A woman stands here in the nude.He's no longer a doctor but a vet,examining the scared patient as if she's a cow."She might belong to those inferior races.A dubious case."He mumbles to his nurse.

    "Monsieur Klein" is rarely mentioned when they praise Joseph Losey.It could be his finest achievement ,the success of a work fascinated by decay,from "the gypsy and the gentleman" to "the servant".

    Like the heroes of the two mentioned works,when the movie begins,Monsieur Klein (Alain Delon,whose performance is memorable,anyway it's his last great part)is a bon vivant.A bourgeois vulture who buys paintings and other works of art for next to nothing from the Jews during the Occupation in France.One day,he receives a news paper called "les informations juives".Thus he discovers he's got a namesake.At first puzzled,Klein becomes more and more involved in a search of this man ,his doppelganger,his twin,who plays cat and mouse with him.Both realist and dreamlike,not to say nightmarish,à la Kafka,and metaphysical,à la Borges ,as the precedent user wrote,Klein's quest is both mad and logical,absurd and passionate.A sublime sequence shows Delon in a crowded café :a waiter 's calling "Monsieur Klein";first he does not care because he knows "they " call the "other",but finally,he asks the waiter who tells him that the person who called "Monsieur Klein" looked just like him.Then the baffled Delon sees his reflection in a mirror.

    In 1942,in Paris ,there are ominous plans.In the desert streets ,in the small early hours,French gendarmes silently move ,as if they are rehearsing for something better left unsaid.The color movie almost turns black and white in a riveting cinematographic tour de force.

    Robert Klein becomes like Lewis Caroll's Alice in the well.He could avoid the fall,but he will not.His world,now that he's a suspect for the police,is collapsing.It's his turn to sell his valuable properties for a song.

    In the vel' d'hiv' (winter velodrome),the roundup of Jews had begun.Klein could escape,because his lawyer found the papers that proved that "he 's got no Jewish blood in his veins",but he would like to know this other himself and he would follow him even if it were into hell.It was indeed,as the train slowly moves off,heading for the concentration camps.

    A first-class work,"Monsieur Klein" leaves the audience numb and ill-at-ease.A topflight supporting cast (Suzanne Flon,Jean Bouise,Michel Lonsdale,Jeanne Moreau) shines.
  • Joseph Losey's dark moody drama of a man and his double or his shadow takes place in Paris of 1942 during the Nazi Occupation. Mr. Klein, in excellent performance by Alain Delon (if anybody ever tells you that Delon is nothing but a pretty face, NEVER believe it. Delon is a great actor with amazing screen presence who happened to be one of the most beautiful people ever lived), is a French Catholic antique dealer, successful with his business and adored by the ladies. At first, he does not care much about the occupation and the fate of Jews who had to sell their pricey pieces of Art and personal belongings for a song just to be able to leave France and to save their lives. On the contrary, he only becomes richer but everything changes when he is confused with another Robert Klein, his namesake, a wanted by the authorities' member of the underground resistance and a Jew. In the atmosphere of the total fear, bigotry, hatred, and paranoia, the "presumption of innocence" ceases to exist and Mr. Klein must prove that he is not a Jew or to face the fate of millions whose fault was to belong to the "inferior race". While trying to claim his comfortable life back, Mr. Klein begins looking for the man he never met but who by the bitter irony of fate had played such a significant role in his life. The desire to look him in the eye becomes so overwhelming that it will take Robert to where he may not be able to ever come back.

    "Mr. Klein" is a complex, subtle, scary, and nightmarish film made by a very talented director who had to leave his country, the USA, in the beginning of the 50s and who knew a thing or two about paranoia and hatred multiplied by the power and turned into indifferent killing machine. Once you are inside this machine, "Abandon hope all ye who enter here". Losey's film is often described as a blend of Hitchcock's thrillers where the heroes must deal with the mistaken identity and Kafka's nightmares of "The Trial" and I agree with the description. I only want to add that the film brings to mind Edgar Poe's short story "William Wilson" which was adapted to the screen by Luis Malle as a part of the trilogy "Histoires extraordinaires" (1968) and Alain Delon played both William Wilson and the mysterious man, his double, his conscience, his dark and hidden side. "Mr. Klein" also reminds another underrated, rarely seen but very interesting Ingmar Bergman's film "The Serpent's Egg" (1977) as well as Bob Fosse's masterpiece "Cabaret". The themes of the Feast during the Time of Plague, the helplessness and distress of the terrorized members of society that face the merciless and inevitable force of history and would perish without a trace, are similar in all three movies. Despite these similarities, "Mr. Klein" is an outstanding film on its own merits. What saddens me is the fact that is little known, rarely seen and almost never mentioned even among the film buffs.
  • Warning: Spoilers
    Mr. Klein is one of the few movies I've watched because of the person that wrote it. After enjoying The Battle of Algiers, State of Siege and Queimada, I had to continue watching the movies written by the spectacular politically-minded Franco Solinas. The fact that one of my favourite directors, Costa-Gavras, did uncredited work on the script, was a major draw too. I'd never heard of Joseph Losey and although I've recently discovered the beautiful, ice-cold Alain Delon through Jean-Pierre Melville's movies, I wouldn't watch a movie just because of his good looks.

    So thank you Mr. Franco Solinas for a new good movie and a unique take on the Holocaust theme.

    Alain Delon plays Mr. Robert Klein, a normal man who deals in art. In Nazi-occupied France, his business blooms as he buys merchandise at low cost from Jews trying to escape. Since they're at a disadvantage, Mr. Klein only profits from their business relationships. He's not too concerned with what's going on. After all he's not Jewish.

    Then one day a Jewish newspaper appears at his door: it seems Mr. Klein is on the subscribers' list. That can't be since he's not Jewish. It seems there's another Robert Klein that got mixed up with him. He tries to sort out the misunderstanding with the police, but the other Klein has disappeared and our protagonist unwittingly becomes victim of an investigation and police harassment.

    Continuing to believe that everything will be sorted out – he's a good Frenchman, he claims, and believes in his country's institutions – he decides to look for the other Klein. But wherever he goes he only finds mysteries and dead ends. Why is this happening to Mr. Klein? Why is the other Klein doing this to him? Who is he? These are just some of the questions our protagonist desperately wants to answer.

    On the surface this is a metaphysical thriller, much in the tradition of European thrillers like Antonioni's L'Avventure, Blow-Up or The Passenger, in which facts, answers and clarity are less important than the philosophical questions that the mysteries open. Owing more to Kafka than Raymond Chandler, this is the story of how an ordinary man is caught in the bureaucratic machinery of the institutions he believes in, that replace truth with their inexorable authority. It's a prison made without walls and bars but perhaps more oppressive since it can steal even one man's identity.

    The ending is truly inspired, one of the finest examples of fatalism I've ever seen in a movie. Looking back, one can't help thinking the movie couldn't end in any other way. And yet it'll come as a surprise to any viewer.

    Franco Solinas, Joseph Losey and Alain Delon are all to commend for a heartbreaking movie.
  • Paris art dealer in Vichy France (Alain Delon) who has a small but significant part in the heist of European works of art finds that he is under suspicion after he begins to investigate another man with his name who has a subscription to a government sanctioned Jewish newspaper. Of course, the police have the names and addresses of all the paper's readers, and are also busy organizing for the expulsion of the entire Jewish population of Paris, many of whom are forced to sell their cherished paintings for near nothing, which are then auctioned off to eager buyers. The auctions are formal affairs, dressed up to legitimize the robbery that took place. At the same time, Delon's curiosity about this other man with his name and appearance (Robert Klein) becomes an investigation for him to prove his own identity and roots. In the midst of it all is a brilliantly and subtly portrayed decay of society, especially in a memorably filmed anti-semitic cabaret scene, where German officers mingle with the French upper middle-class, laughing along to an incredibly insulting act.
  • By far the most popular kind of film produced in 70s France was the policier, in which dogged detectives and po-faced policemen plodded through dour crime narratives after charismatic criminals. Generally reactionary, many featured Alain Delon, along with Jean-Paul Belmondo, France's biggest star.

    MONSIEUR KLEIN is a very different Delon policier. Set in Occupied Paris, its police are Gestapo stooges doggedly and po-facedly seeking out phoney Frenchmen, with one of whom Klein, Catholic, collaborationist-befriending, art-dealing war-profiteer, seems to be confused, with inevitable consequences.

    Losey's nausea-inducing camerawork, his use of ugly colour and shadows which literally swallows up the brightest of film-stars, the recreation of Nazi France, the playing with ideas of play, the combining of exciting thriller with Borges and Kafka, makes this one of the best films of the 70s.
  • Mr. Klein is a magnetic masterpiece,it has the characteristics of a Film Noir although it's not a detective movie.It deals in a subtile way but irritating with one of the main traumas in the human Era suffered in the 20th century - The Holocaust. The plot seems to be ordinary and straight forward but in the background we have many clues that what seems to be is not what there is. Joseph Losey made here a genious work of directing,creating a mysterious movie with even more mysterious double character of Mr. Klein - one in the shade and one very well performed by Alain Delon.
  • Warning: Spoilers
    The French don't like talking about what happened in France in the Second World War when they are blamed of collaborating with the Nazis. This particular movie does not try to make history seem nicer than it was. Hats off to the producers, one of them Alain Delon himself, for bringing this serious topic to the screen.

    Apart from the historical background this is also a very suspenseful, well-written thriller with barely any lost minutes or boring scenes. There's no need to go through the content exactly again now, but it sure is an unusual and interesting one. The fight for your own identity. Mr Klein, an antiques seller who profits from sales of Jews who are in danger and want of money, finds out there's someone in Paris who's also called Robert Klein. As this Mr Klein is, as he suspects, a Jew he tries everything to find the one who steals his "safe identity".

    The director, Joseph Losey, presents us a very atmospheric picture of Paris 1942. The actors are all good, but the star is of course Alain Delon. Delon gives what is probably among his greatest character roles ever and he completely disappears into the demanding role. The screenplay is consistently fine and never has any missteps, including a dramatic and very touching final. A French film gem from the Seventies, watch it now!
  • Alain Delon is "Mr. Klein," a man profiting off the misfortune of French Jews during World War II in this 1976 film directed by Joseph Losey.

    Robert Klein is man buying art work at severely reduced prices from desperate Jews, and for him, it's just business. When he receives a Jewish newspaper addressed to him, however, he becomes concerned, less he be suspected of being Jewish himself. His investigation leads him to another Robert Klein, who lived in reduced circumstances, supposedly resembles him, and whose new address has been given as Klein's own.

    This is a fascinating film about how, in the end, we all become victims of prevailing injustice. There is a great deal of symbolism throughout; Delon's Klein becomes obsessed with the other Klein, and their lives become inextricably entangled.

    After this film, you'll be left with many questions, for which there are probably several answers. Thus is the beauty of "Mr. Klein," a wonderfully directed and acted film. Delon, as an arrogant and confused man, has rarely been better. He is one actor who, due partially to a nice long life, has been able to extend his range beyond staggering good looks and play interesting, challenging characters; he is a producer of this film.

    This is highly recommended and certainly a credit to the filmmaking skills of Joseph Losey as well as the taste and talent of Alain Delon.
  • This is an interesting film involving a French-Catholic businessman into Kafkanian situations .January 1942, Paris , the art dealer Robert Klein is taking a lot of money because of the Nazi occupation gives him great opportunities on business buying objects and paying for less than which the valuables are worth from Jewish attempting to getaway . When a Jew newspaper appears near the door his cosy existence goes wrong. Then another Mr Klein from Jew resistance who lives hidden and wanted for anti-Nazi activities is replacing his identity , then he is mistaken for another person.

    It's a complex intrigue in Frank Kafka and Hitchock style , cleverly directed by Joseph Losey. The movie is proceeded of intense manner but in slow-moving and for that reason results to be a little bit boring.This suspenseful movie is well starred by Alain Delon, the French actor most known around the world mainly for his romantic and noir films. He worked with legendary directors as Jean-Luc Godard, Jean-Pierre Melville, Luchino Visconti, and Michelangelo Antonioni.This is the second pairing Alain Delon-Losey who formerly collaborated in ¨Assassination of Trosky (1972)¨. Magnificent support cast plenty of known French actors as Jeanne Moreau,Michael Lonsdale, Suzanne Flon , Massimo Girotti and uncredited Gerard Jugnot and Michael Aumont.Confuse but original screenplay by prestigious Italian screenwriter named Franco Solinas. It contains splendid cinematography by Gerry Fisher adding adequate setting by the master Alexandre Trauner. Director Losey was originally compelled to release movies under pseudonym Victor Hansbury because he had blacklisted by Hollywood (where he shot The boy with the green hair, Prowler, Sleeping tiger, among others) during the 50s red scare . Losey exiled England where directed good films (Servant, King and Country, Accident, Romantic Englishwoman) and other European countries as France where filmed Mr Klein.
  • Warning: Spoilers
    As part of the Istanbul Film Festival, I just saw Monsieur Klein, a tale of a man whose story I slept through a large part of. This is not meant as disrespect to Losey or the film's star, Alain Delon. It's not easy to watch three films in one day, and the middle film often bears the brunt of my sleepiness. Here's what I didn't miss.

    The film starts with an exquisite scene of a French vet (we find out later) who is examining a naked dark haired woman, measuring the length of her nostrils, whether her earlobes are attached or not, the size of her hips, and other humiliating minutiae in a cold and clinical office. The woman is then dismissed, and to top it off has to pay for the test that will "prove" whether or not she is a Jew. We then see her commiserate with her husband, who also had the same test. This clinically frightening scene is somewhat different than the rest of the film, which is less about the process of France's occupation and collaboration and more about Delon's character's inner workings. He plays a gentile art dealer named Mr. Klein who, in 1942, profits off Jews who have to unload precious goods in order to make it out of the country. He buys their works cheaply and then sells them at a high profit.

    Alas, he is mistaken for a Jewish man, also named Mr. Klein, who has mysteriously disappeared. Klein's life then begins to unravel as he tries to get to the bottom of what has happened. The other Klein is all that he is not, poor, Jewish, and politically active. We expect a sea change in his character, but by the end we have to wonder if he really realizes and acknowledges the irony of the situation and the karmic retribution that is being exacted. Now that I think about it, the last scene does acknowledge that somewhat. As Klein is being swept by a crowd boarding a train headed for the concentration camps, he turns and yells at his friend who can potentially help him get out, saying- "I'll be back." If he wanted, could he have turned back? Did he want to punish himself for the role he played in others' suffering? Is he symbolic of the nation of France as a whole (with the exception of Resistance fighters), willing to turn a blind eye and thus worthy of punishment? To top it all off, the last scene in the train shows a Jew who came to Klein at the very beginning of the film and sold a valuable painting, which he collected a couple of gold coins for. The Jew is not alone, in front of him stands the blank-faced Mr. Klein.

    I wasn't surprised to see that Delon was the producer, and even less surprised that this film was being shown while giving him a lifetime achievement award, because the film is all about HIM. After all, one still of the film features Delon within the David's Star, how megalomaniac is that?

    I'm a Delon lover, not hater though and I don't know which is better, Delon in a bowler hat or a silk robe. He sports both. I'll choose the hat because it's more meaningful to the post at hand. The hat was reminiscent of Magritte's existential man in a bowler hat, his face obscured by a series of objects. That is the essence of the film- not the Holocaust, or the occupation, but rather the existential crisis of one man. By being confused for a Jewish man, Delon is forced to question his own existence and the choices he has made. We, however, are never totally privy to that process.
  • In 1942, in Paris, Mr. Robert Klein (Alain Delon) is a bon-vivant art dealer that exploits French Jews that need to raise money selling their artworks. When he receives a Jewish newspaper, he discovers that there is a homonym in Paris and he goes to the police to report the mistake. Soon Mr. Klein becomes suspect by the police that he might be Jew and he decides to carry out his own investigation but he does not find the other Mr. Klein. He needs to prove his origins to the authorities but becomes obsessed to find his double.

    "Monsieur Klein" is a movie with an intriguing story of obsession, but also with a disappointing conclusion. The reconstitution of Paris in the 40's is perfect; the performances are great; but the conclusion is quite non-sense with the personality and behavior of the lead character. My vote is six.

    Title (Brazil): "Mr. Klein"
  • stuka2427 January 2011
    Delon as the classic "individualist" who profiteers until finally the Brechtian idea of "first they came for 'x', you weren't concerned..." simply happened is a paranoiac, gloomy view of France during the war. A bit heavy-handed from the start, nevertheless is thrilling and keeps you wondering what is really happening till the end. Harder to follow than any Hitchcock or Christie, probably on purpose, as if to say: Life is not always so clear cut.

    Lady Moreau and Francine Bergé could have had more "character development", while beautiful leggy Juliet Berto's long figure and erratic behaviour is all we can see from Bob's fiancé. Robert is cold, intelligent, self assured, able to answer like a French writer while his house is being requisitioned by the police. Lonsdale, from many Buñuel films, gives us the eerie feeling so necessary for this film to succeed. Jugnot and Aumont deliver in their smaller roles. Suzanne Flon, from "Un crime au paradis" among others, is convincing in her obfuscated part.

    Gerry Fisher's cinematography and Egisto Macchi's score make this film stand apart, you've get the feeling of "really being there". In the grim and everyday aspects, not fictionalized for being palatable. mackjay from IMDb writes: "Klein's mixture of desperation and arrogance with so much conviction, it's easy to forget he is, after all, acting". C. Tashiro adds that the Nazi horrors are taken for granted, making them more real. Like J. L. Borges usually quipped: "There are no camels in the 1001 nights" meaning those involved don't notice what we, the viewers, probably would.

    Franco Solinas's script conveys paranoia as faced by somebody who seems never to have suffered for anything, nor anybody for that matter.

    Great film, but obviously, not "light viewing". Maybe a tad slow for nowadays's viewers.

  • Robert Klein (Alain Delon) is an unscrupulous art dealer in occupied France, who buys paintings at knocked down prices from desperate jews looking for some quick cash to aid their escape, this is a golden opportunity for Klein to live the high life at their expense. Klein is disturbed when he receives a Jewish newspaper at his home. A chance error by a Jewish newspaper sees Klein in trouble with the authorities as they believe he is a jew, Klein has to hurry to prove he is French and that its all a big mistake and that there is another Mr Klein. What follows is a delightful Kafkaesue play on identity and mis-identity, that becomes ever more labyrinthine and confusing, but always spellbinding.
  • steven-22227 April 2011
    Warning: Spoilers
    Exquisite, excruciating existential thriller from director Joseph Losey. (Spoilers follow.)

    On the simplest level, Mr. Klein is a story of mistaken identity and a powerful indictment of fascism...but it is much more than that. The abiding mystery here is the relationship between a man of mediocre virtue and his doppelganger, who appears to be everything Mr. Klein is not. Mr. Klein at first fears his double, then becomes fascinated by him, then comes to deeply admire him. At the end of the movie, the comfortable bourgeois Paris of Mr. Klein has become a moral cinder, utterly corrupt, and Klein--who only moments before declared, "This has nothing to do with me!"--chooses to follow his double into the boxcar of death.

    On the level of surface story, this is a paranoid thriller with a gloomy ending; on the level of fable, it is a story of self-discovery and transcendence, as the two Mr. Kleins, who never meet, nonetheless merge. The best Losey films gives us more than we bargained for and take us to places we did not expect, and this is one of his best and most complex movies.
  • Alain Delon plays the title character. He's an oddly happy man. While his country is occupied by the Nazis, he's very content. He makes a career out of buying and selling art from Jews who have no choice but to sell--and he's a sleazy profiteer. He also has a mistress and has everything he wants. However, when another Mr. Klein tries to convince authorities that the sleazy Klein is a Jew, his ordered and happy life starts to crumble. And, Klein knows he needs to expose the real Jewish Klein or he could be branded a Jew and lose everything...including his life.

    I noticed that the reviews for "Mr. Klein" are very, very favorable. So favorable that I stared to wonder why I disliked the film so much as I watched the film--as I was really expecting to like it. As I pondered, I thought the problem was NOT the plot. The story idea was pretty interesting. However, the way the story was told was so incredibly dull, as it's way underplayed throughout--making what should be a great story amazingly lifeless. As a result, much of the impact of the film was lost on me. I just can't see what the others saw in this film and there are certainly MANY films that deal with the Holocaust era better than this.
  • desperateliving3 May 2005
    This is a very interesting way to approach the Holocaust -- a portrait of a life, fairly slow to get its rhythms (at its worst, Losey directs the film in a stale manner), told ostensibly as a mystery, with truths about the Holocaust (that come into effect at the end of the film) and how the daily routine of it felt for an observer. It's a brutal revenge story (we know that Klein is being punished for making money off the deaths of others from the beginning), but also an allegory for the self-loathing Jew who, in this case, runs toward his death, aware that it's coming and trying to avoid it but actually walking right into it, a nasty bit of determinism.

    The beginning of the film has a title that suggests this film is about not a person but a phenomenon -- a composite of various people -- but just what phenomenon are they talking about? Art dealers during the Nazi occupation? That could be, but how many of them had their identity essentially stolen from them? I think the phenomenon they're referring to has more to do with that allegory than it does with the literal happenings of the film. But what's so impressive about the film is that the literal happenings are taken very seriously.

    Delon's performance here, as per usual in his later years, is very good and very subtle. He's not a ruthless man, and there's a very interesting balance he pulls off between being annoyed at his police troubles and trying not to offend anyone, especially the Jews, as he tries desperately to get off their newspaper mailing list. Of course there is no grandstanding, and his aging beauty gives him a perpetually over-tired face, a pretty boy whose looks are slowly deteriorating. He must have been aware of that, as his worn face matches the dull, rainy Paris landscape in the film. 8/10
  • JasparLamarCrabb13 November 2010
    Warning: Spoilers
    Featuring some of the best acting Alain Delon ever did, MR. KLEIN is Joseph Losey's film of a callous art dealer in occupied France who sells the paintings of desperate Jews and becomes very rich in the process. One day he discovers a second Mr. Klein (a Jew) and things go downhill for him very quickly. A Kafkaesque nightmare if ever there was one ensues. Delon knows nothing of this other man but stumbles across a number of his cryptic colleagues, Jeanne Moreau & Suzanne Flon among them. Losey's direction is very succinct (he won the French Oscar for this) and there's a unending sense of dread right up until the dreadful ending. The unusually strong supporting cast includes Massimo Girotti, Francine Bergé and, as Delon's lawyer, Michel Lonsdale. It's an exceptional film with a great, twisty screenplay by Franco Solinas.
  • Warning: Spoilers
    Losey's early Hollywood work included The Dividing Line and The Boy With Green Hair and Mr Klein contains elements of both inasmuch as he is still saying that if you're 'different' you'll wind up paying the price. He seems to have taken a leaf out of Jean-Pierre Melville's book and shot the film in muted, autumnal color which lends an ironic touch of austerity to the story of a man who deals in fine Art and lives a sumptuous lifestyle. Other posters have dealt both with the plot and its Kafkaesque overtones so it would be superfluous to repeat that here. Like the majority I found it an excellent effort and for a French film buff like me the pleasure was enhanced by a glimpse of Gerard Jugnot, a great cameo by Louis Seigner, a telling appearance by Michel Aumont, an all-too brief couple of appearances by the wonderful Suzanne Flon and Michael Lonsdale in fine form as Klein's lawyer. The Biter Bit element MAY be a tad obvious and overdone, true, but Delon's central performance plus the contributions already mentioned help take the edge of this whilst the startlingly effective opening of a naked woman submitting to an examination in order to prove her non-Jewishness is somewhat wasted by not being effectively linked to the main story but these are minor quibbles from one who has always found Losey somewhat overrated but who thoroughly enjoyed this late offering.
  • Warning: Spoilers
    I always assumed director Joseph Losey was British (he was a blacklisted American). To further confuse matters (and me) 'Mr. Klein' is in French and it offers a profound and disturbing glimpse into 1942 France, sliding into semi-totalitarianism. Not a pretty picture; rather a blandly terrifying or terrifyingly bland one. The film is frequently and aptly described as Kafkaesque. It raises questions that it deliberately does not answer. Another reviewer pointed out thematic similarities to Bergman's 'The Serpent's Egg'. I agree, and both are very good. To be honest, I need to see 'Mr. Klein' again but it is upsetting enough that I have to defer that awhile. And probably after another viewing I'll still be confused. Delon at 41 is beginning to lose his looks in this but it's an excellent performance. Recommended though somber and not easy.
  • Vincentiu12 March 2015
    a beautiful cold film. ice atmosphere. strange pieces. fragments from Kafka. labyrinth of a character, search of answer and a terrible end. a film like an experience and one of the most remarkable roles of Alain Delon. Mr. Klein is , in same measure, a film about certitudes, Shoach and solitude. about fear and importance of choices. about the Borges universe of appearances and strange answers. more than a good film, it is an useful one. because could be extraordinary translation of one of greatest tragedies of XX century. because it gives new dimension to the doubt. because it is a seductive image of an empty life who becomes profound different. and, sure, because it has a real good cast. see it !
  • gavin69426 November 2017
    Robert Klein cannot find any fault with the state of affairs in German-occupied France. He has a well-furnished flat, a mistress, and business is booming. Jews facing discrimination because of laws edicted by the French government are desperate to sell valuable works of art - and it is easy for him to get them at bargain prices. His cozy life is disrupted when he realizes that there is another Robert Klein in Paris - a Jew with a rather mysterious behavior.

    Although Wisconsin-born director Joseph Losey integrates historical elements (such as the infamous Vel' d'Hiv Roundup) into the film, it is more than a reconstruction of the life and status of the Jews under the Vichy regime. The relationship of the film with the works of the writer Franz Kafka has often been noted.

    The Kafka connection is what makes the film so enjoyable. The story on its own is good, though Klein comes off as a smug fool. Once his life enters the Kafkaesque pointless journey, it gets interesting. We may or may not feel sorry for him (he is not a sympathetic character), but we are interested to see where the mystery goes.
  • a strange script. fascinating cast. a not comfortable story. a man out from its gray life, a confusion, a verdict and the search of the answer. and the last decision. it could be a page from Kafka. or only episode from Calvino/Borges work. it could be a war episode. in fact, it is a seductive parable about the truth and its dark shadow. Alain Delon does one of his greatest roles and that remains, after decades, one of the basic virtues of this question-film. because it is one of films who propose only a question. about every day life, about the other, about the security who seems be out of debates, about curiosity and about fear. and, sure, about accidents who becomes destiny. short, a film who must see. for the status of challenge. for the meeting of a different Joseph K. from the Trial.