Klute

Tags

1970's, Alan J. Pakula, Charles Cioffi, Donald Sutherland, Jane Fonda, Klute, Roy Scheider, Thriller

Film Title

Klute

Director

Alan J. Pakula

Starring

• Jane Fonda as Bree Daniels
• Donald Sutherland as John Klute
• Charles Cioffi as Peter Cable
• Roy Scheider as Frank

An atmospheric thriller built on prowling paranoia through the direction of Alan J. Pakula, Klute also succeeds at being an unconventional urban drama with two fascinating characters, embodied spectacularly by Donald Sutherland and an Oscar-winning Jane Fonda.

Tom Gruneman; a family man mysteriously goes missing for no apparent reason. After the police have searched and turned up nothing, friend and private eye John Klute steps in and takes the investigation. He is a small town detective with not much experience in big cities, but he still dutifully takes on this case. The only clue as to what might have happened to Gruneman comes courtesy of an obscene letter he sent to a New York call girl. The girl in question is Bree Daniels, who seems to be not bothered about her lifestyle, but inwardly wants to break out from being a hooker and become an actress. In the area she lives in though, this dream is pretty slim which accounts for why she would need to turn tricks. The dependable and committed Klute travels to New York to see what he can uncover with regards to his friend’s disappearance. For a while, he watches Bree before making his presence known and questioning her of what she may know. Naturally defensive, Bree still manages to tell him about a client a few years back who brutally beat her up, but she can’t remember his name. Add to this the fact that she’s been getting cold calls frequently and Klute suspicions are raised. As he investigates and attempts to decipher what may have happened to Gruneman, he starts developing feelings for Bree, who has trouble reciprocating because of how distrustful and complex she is. Yet when a nearby prostitute is murdered and Bree begins to feel isolated, it appears that the crazed psycho may well have her in his sights. Bree is forced to trust Klute, which is something usually out of her remit as the steadfast Klute closes in on the stalker.

Alan J Pakula’s probing direction is a perfect match for the unconventional film that while ostensibly a thriller, reveals a personal drama in a place of seeming hopelessness. He is most adept at constructing paranoia in the viewer, achieved by placing the camera behind an assortment of obscuring surfaces. Surveillance is almost ever-present in Klute; which brings out a voyeuristic deconstruction of a seedy underbelly that the characters here occupy. The way that the camera stalks and tails Bree is both compelling and alarming, as it places us in the position of the crazed former client stalking the slowly more desperate Bree. While the spine tingling thriller aspects are plentiful and impressively drawn, the real crux and unique point of Klute comes in the characters and the attention it makes for them. The exploration of John and Bree are impeccably rendered and allow them to be characters that fascinate as well as challenge us. This is mostly seen in Bree, who is the focal point and key to the story. What is most enthralling about Bree is that she isn’t really like either of type of prostitute that is often seen in film; neither the hooker with the heart of gold or an emotionless broad. Instead, she occupies the middle ground and that , coupled with her complex relationship with Klute, is the lifeblood of this movie. John is also intriguing for how he manages to stay above corruption with his smarts and common sense, while still attempting to connect with Bree and solve the case. Special mention must go to the cinematography from the masterful Gordon Willis. He already stands as one of my favourite cinematographers and Klute displays his sublime gift for crafting darkness and shadowy intent. Combined with the piercing and perceptive direction of Pakula, the visual elements place is right in the middle of the strange and ever so unnerving story. Even when there is a spot of brightness in the film, something usually shocking or dark is occurring to offset any relief. A tremulous and minimal score that often echoes with eerie intent is employed to supply sufficient atmospheric impact, which it does it droves.

Klute may be the title of the film, but the main story belongs to Bree and how stunningly Jane Fonda essays the role. She garnered a well-deserved Oscar for playing the brittle prostitute and it’s not hard to see why. The character is one of so many angles and contradictions; tough and hard-edged yet achingly vulnerable, openly sexual and yet never really knowing the pleasure of love and seemingly fulfilled but crushed by failed opportunities. For any actress this role would be a high wire act that could have gone wrong, but Jane Fonda’s simply astonishing depth and ability to exhibit all of these traits is really something to behold. I can’t wax lyrical enough about how exceptional her work is here, she just never misses a beat and inhabits the role with a whole bunch of committed emotions, sometimes within a matter of seconds. Donald Sutherland’s wisely understated and stolid playing of the titular private eye is an exemplary counterbalance to Fonda, as he is the one who is doing the digging and managing to somehow remain from getting his hands dirty. In supporting parts, Charles Cioffi as the man Klute reports back to and Roy Scheider as a vicious pimp, do commendable work.

Filled with a piercing and voyeuristic insight into a place of urban and moral decay and exuding some nail-biting suspense, Klute makes a big impact and striking effect as we are invited into this world and behold the fantastic work from the two main actors, particularly a knockout Jane Fonda.

Barefoot in the Park

Tags

1960's, Barefoot in the Park, Charles Boyer, Comedy, Gene Saks, Jane Fonda, Mildred Natwick, Robert Redford

Film Title

Barefoot in the Park

Director

Gene Saks

Starring

• Robert Redford as Paul Bratter
• Jane Fonda as Corie Bratter
• Charles Boyer as Victor Velasco
• Mildred Natwick as Ethel Banks

A witty and breezy comedy about a newly married couple who are complete opposites, Barefoot in the Park bristles with humour and charm as we watch a picture of domesticated bliss gone amusingly awry. Sure, some of it is quite dated when viewed now, but the chemistry between Robert Redford and Jane Fonda combines with a laugh-filled script makes it enjoyable.

Proper Paul and fun-loving Corie Bratter have recently married and they move into an apartment in Greenwich Village. Yet the apartment is far from a dream home, mainly because of the five stories of stairs that need to be climbed to reach it. It is here that we see how different the newlyweds are in terms of their personalities and ideas. On one hand, Paul is an uptight and straight-laced young lawyer, while Corie is an effervescent free spirit who is willing to try anything. The apartment has a hole in the ceiling which renders the place freezing, crammed space and their aging womanizing neighbour Victor Velasco must come through their apartment to reach his one on the floor above. Paul hates all these things about their new home, but the adventurous Corie sees them as quaint and very nice. Already a wedge has been drove between them as they begin to see that wedded life can be complicated indeed. To add to this, Corie’s sarcastic mother Ethel comes by to view the place. The romantic Corie tries to set her mother up with Velasco as she feels she is lonely. And after a wild night out had by all of them, it is time for Paul and Corie to see if their marriage is going to last or not. The newlyweds begin to see that marriage is not a bed of roses and that they are particularly different which does lead to arguments and maybe a possible divorce. Watch as personalities clash and misunderstandings between the mismatched couple cause fireworks and plenty of laughs.

Director Gene Saks gives Barefoot in the Park that breezy quality that suits the brisk pace and various antics that occur in the piece. He is given extra help by Neil Simon’s script from his own stage play that just cracks with humour and wit as Paul and Corie enter into marriage and witness the fact that their personalities are somewhat incompatible. Comic interludes are ever-present in this film and while some of it may be a trifle dated, it still doesn’t fail to raise a smile or a laugh. There is kookiness to the proceedings that gives the film a verve when the plot meanders on occasion. A lively, romantic score tinged with a good old jaunty rhythm is the perfect musical accompaniment to this funny tale of marital disharmony.

Barefoot in the Park gains an added spark from a game cast who perform excellently with the confines of comedy. Robert Redford is delightfully uptight as the respectable Paul, who doesn’t seem to know how to live a little and let his hair down. Redford brings a whole lot of charisma and some priceless facial expressions to the film that are bound to conjure laughs. Jane Fonda is his comedic foil in the part of Corie, who lives for the moment and is kittenish to say the least. Fonda is a natural at playing this, and giving it a sexy edge. The chemistry between the two is believable, abrasive and caustic, which only adds to the many incidents that befall them. The colourful supporting roles are filled with style and considerable talent by Charles Boyer as the old but still hungry for life fox and Mildred Natwick as the sarcastic and self-doubting mother.

Scintillating chemistry, humour and talent make Barefoot in the Park a guarantee to put a smile on your face and a breezy way to spend an hour or two.

They Shoot Horses, Don’t They?

Tags

1960's, Bonnie Bedelia, Bruce Dern, Dance Marathon, Drama, Gig Young, Great Depression, Jane Fonda, Michael Sarrazin, Red Buttons, Susannah York, Sydney Pollack, They Shoot Horses Don't They?

Film Title

They Shoot Horses, Don’t They?

Director

Sydney Pollack

Cast

• Jane Fonda as Gloria Beatty
• Michael Sarrazin as Richard Syverton
• Gig Young as Rocky
• Susannah York as Alice LeBlanc
• Red Buttons as Harry Kline
• Bonnie Bedelia as Ruby
• Bruce Dern as James

They Shoot Horses, Don’t They? is a cathartic, emotionally intense and allegorical look at the Great Depression seen through the weary eyes of those entered into a dance marathon. Desperation, broken dreams and manipulation all feature heavily in the well-acted story of the extreme lengths people will go to in times of economic decline.

In 1932, Richard Syverton is a drifter who one day stumbles upon a dance marathon, the prize for the winner being $1500 . He is then recruited by the manipulative Master of ceremonies Rocky to partner a cynical and discontented young woman named Gloria, when her partner falls ill. Although they barely know each other, they enter for the money that is much-needed at this time in their lives. Amongst the other contestants are Harry Kline, an old sailor who refuses to give up; Alice LeBlanc, a deluded English actress with dreams of making it big, and Ruby, a pregnant woman and her husband James.  As the contents starts, we witness how the oily Rocky exploits the insecurities of the couple’s for the audience’s enjoyment and how he puts them through a series of humiliating tasks. This begins to take its toll on the contestants as nerves begin to fray, anger begins to boil and pain becomes all to real. The film in part resembles what reality TV might have been like in the 30’s and the manipulative machinations that go on behind the scenes for the audience’s pleasure. It also functions as a haunting study of desperation within everyone and how it is brought to light through circumstance.

The use of lighting particularly shadows and hues of sepia conjure up a bleak picture of desperate people just trying to get along in this time of hardship. The various uses of old music further capture a nation’s melancholy but still a fleeting bit of hope; most apparent when the pregnant Ruby sings “The best things in life are free” in an emotion choked voice still clinging to her belief that something good will happen. Sydney Pollack has created an immensely believable portrait of the Great Depression and he should be praised for his kinetic direction during the exhausting derby that the contestants are put through. We are placed within this melee of people trying to stay on their aching feet as they race aimlessly round a course. By the end, your emotions are exhausted from the shock of seeing it. The cast assembled for the picture excellently embody the emotions of these people just needing to win. Jane Fonda is the biggest revelation as Gloria, essaying a multi-layered performance of desperation, cynicism and melancholy.  Her scenes with Michael Sarrazin are outstanding, as we witness two strangers closely forming a deep relationship against a backdrop of pain. Sarrazin exudes so much emotion through his searching eyes it is unbelievable. The supporting cast is equally as strong. Gig Young stars in an unforgettable Oscar-winning portrayal of greed and mendacity, his shouts of Yowza becoming menacing and taking on sinister tones as the contestants continue to dance for his enjoyment. Susannah York is heartbreaking as the deluded Alice, who for all her glitzy gowns and make-up can’t escape the desperation of her life. Her breakdown in the shower is so intense and shocking, as an audience all we can do is witness it as her blue eyes become haunted. Red Buttons, Bonnie Bedelia and Bruce Dern further add to the dramatic impact of the film.

All in all, They Shoot Horses, Don’t They? is not the most comfortable film to watch but is certainly a devastating evocation of anguish and the need to survive. If it’s dramatic emotional viewing that you require, try this film from Sydney Pollack.

Agnes of God

Tags

1980's, Agnes of God, Anne Bancroft, Drama, Jane Fonda, Meg Tilly, Norman Jewison, Religious Drama

Film Title

Agnes of God

Director

Norman Jewison

Cast

• Jane Fonda as Dr. Martha Livingston
• Anne Bancroft as Mother Miriam Ruth
• Meg Tilly as Sister Agnes

Agnes of God is part religious drama and part mystery surrounding strange event involving a naive nun that happen in a quiet Montreal convent. Although the film at times has a few flaws and unanswered questions, it still remains a rewarding and dramatic watch thanks to the three principal performances of  Jane Fonda, Anne Bancroft and Meg Tilly and the atmospheric music that accompanies it. This is a film that will leave you thinking long and hard after the credits have finished rolling.

The film begins with the nuns of the Montreal convent going about their daily duties such as praying and helping with the land. As night approaches, the serenity and relative stillness of the convent is shattered by a piercing scream from the eponymous Agnes’ room, she is found shortly after bloodied on her floor. The audience later find out that she had given birth to a baby and allegedly strangled it to death. This is when Dr. Martha Livingston a psychiatrist is introduced into the story as the one to find out what really happened. She goes to the convent where she is greeted by Mother Miriam Ruth, the Mother Superior of the convent. The two immediately clash as a result of their conflicting beliefs, Mother Miriam secretive and disapproving of psychiatry and Martha suspicious because of her atheist belief and a past incident that led her to resent the church and religion altogether. The most curious aspect of the unusual case is that Agnes does not have any recollection of conceiving the child or indeed giving birth to it. Also none of the other nuns even knew that Agnes was pregnant in the first place. More to the point, the childlike, naive and beatific Agnes is completely unaware of where babies come from and the ways of the world. Martha then attempts to break through to the intense and devout nun and find out what really happened to her. Did Agnes really conceive a child with another man? Or is it something much deeper than that?

As a mystery the film has its moments of shock and a twist or two, but sometimes isn’t always clear enough on certain aspects of the story and leaves plot holes at various points. But as a drama, the film succeeds on a number of levels as the tension and anxiety surrounding the case begin to grow. As the chain-smoking, forthright psychiatrist, Jane Fonda is excellent especially in her scenes with the dependable Anne Bancroft as Mother Superior, who she has amazing chemistry and believability with. Throughout the film, the two clash over the best way to get through to Agnes,  but at the same time they rely on each other for information and at times guidance. Bancroft is superb as the secretive, wise and clipped Mother Superior, but beneath it all she emerges as something completely different from what she at first appears to be. But the real stand out performance  from the troika of gifted actresses is Meg Tilly as the naive, young novice Agnes. Tilly imbues the character of Agnes with childlike mannerisms and seemingly angelic demeanor, the audience is never really sure what to think of her because of the intense and thoughtful characterisation that Tilly creates. Could this sheltered young nun, with no knowledge of the outside world have really conceived a child and then killed it? It is the little nuances of the character such as her quiet almost whisper of a voice, devout behaviour and beatific smiles that make her so interesting and compelling in the story.

The look is the film should rightly be praised, the cold and sometimes eerie convent cast over in dark colours. The cinematography of Ingmar Bergman regular Sven Nykvist helps accentuate the atmospheric and holy aspects of the story. The music that underscores the film helps back up the themes of religion but also of doubt and suspicion that pervades the mood of the film. All in all, the film can be puzzling and mind-boggling at times but as a showcase for the talented players of the story it scores very highly indeed. Norman Jewison manages to create a thoughtful yet dramatic and compelling story set in the most unlikely of surroundings.