Word: bree
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...Jane Fonda won an Oscar for this film. She didn't work in Hollywood again until 1976. It's good to have you back, Jane, but Klute almost sustained us through those barren years. Somehow thrillers where the characters matter seem richer in atmosphere and tension--and Fonda's Bree Daniels, the call-girl who is the object of a shadowy killer, involves us so totally that the girl-in-the-abandoned-warehouse routine at the end doesn't even appear schematic (well, it does, but we're still scared to death). You gotta credit Alan J. Pakula though...
...goes on before our very eyes, the nervous twitch furious with itself. Fonda is the smartest screen actress we have now. This film was the first chance she got (or took, anyway) to drown the brainless sex-kitten, and her work here almost equals the wonder of Klute's Bree Daniels...
SCOTLAND: The village of Rockcliffe in Kirkcudbrightshire (pronounced Cur-coo-bree-sher) in southwest Scotland lies at the end of the Moors Road and overlooks the silvery waters of the Solway Firth. Just outside the village on a high, rocky peak, a group of young archaeological students, under the direction of Lloyd R. Laing of the University of Liverpool, spent five weeks trying to find the palace of King Urien of Rheged, as part of their course for a degree in ancient and medieval history and archaeology. The site, which is a citadel with ramparts, dates back to the early...
...Bree is a distinctly contemporary whore, a sometime model and aspiring actress who turns a trick for cash as well as for the frequent pleasure of dominating her male customers. This is all made plain in extended conversations with her psychiatrist-a rather clumsy dramatic device that lends some furtive substance to the proceedings even while slowing them down. But Klute at least is intrigued and eventually succumbs to Bree's well-practiced blandishments. Somewhat to her surprise, and probably against her will, Bree finds herself falling for Klute...
...actors seems now beyond contention, and under his guidance Jane Fonda gives her best performance to date. A couple of years ago, in They Shoot Horses, Don't They?, she brought power to a part in which she was basically miscast. In Klute she is profoundly and perfectly Bree: she makes all the right choices, from the mechanics of her walk and her voice inflection to the penetration of the girl's raging psyche. It is a rare performance...