Klute (1971)
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.
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What critics compared Klute to
In the tradition of such classics as "All the President's Men," "Klute" and "Three Days of the Condor," it's a film that dares not to patronize or pander to its audience, but rather to assume viewers possess the intelligence to connect its twisty trail of dots.
This iteration draws on films like Se7en and Klute , as well as famed Batman tales like Year Two and The Long Halloween .
Muy lejos de la fábrica de chorizos del hijo de puta de Kevin Feige de la factoría Marvel, responsable de dos décadas de bodrios que califican de productos excrementicios y/ o insufribles, aunque asimismo manteniendo una buena distancia para con los desastres pomposos, sensibleros y seudo importantes de Zack Snyder y los demás autómatas o mercenarios de DC Cómics que empezaron la catarata de exploitations de aquellas tres maravillas de Nolan con Christian Bale, Reeves nos ofrece un neo noir hecho y derecho con toques de horror, cine de acción y thriller testimonial que está inspirado en simultáneo en Barrio Chino ( Chinatown , 1974), de Roman Polanski, por las constantes alusiones al entramado de corrupción que atraviesa a toda Ciudad Gótica, ahora con el narcotráfico reemplazando a la especulación inmobiliaria y los chanchullos basados en el sistema de irrigación, y en Klute (1971), de Alan J. Pakula, especialmente en lo que atañe a esa premisa centrada en el devenir de un detective, el John…
McGregor recalls a young Donald Sutherland here, his understated panic not unlike Sutherland’s in Klute and Don’t Look Now.
This isn't Breakfast at Tiffany's; this isn't even Klute.
There’s an unforgettable moment in “Klute” where Jane Fonda’s hooker character peeks at her watch while pretending to be in the throes of orgasm; Chelsea seems to operate entirely in watch-peeking mode.
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Gainsbourg narrates in a flat, uninflected monotone; Martin, during the act, is usually staring blandly into space, like Jane Fonda in "Klute."
“Presumed Innocent” is a little less heated than the likes of “Klute” and “The Parallax View,” interested in a soothing tone of invasion, tracking the desperation of Sabich as his indiscretions come back to torch his life.
There's a "wrong man" angle, as seen in The Parallax View ; a sordid sexual history leading to current woes, as in Klute ; a fixation on the details of procedure, in the vein of Rollover and All the President's Men (though here the process is law, not finance or journalism); and there's a lot of energy spent looking at the protagonist's marital state, which is true in some way of about half of Pakula's films.
This adaptation of Scott Turow's best-selling novel—about an idealistic prosecutor (Harrison Ford at his best) who becomes the prime suspect in the murder of a colleague (Greta Scacchi) with whom he's had an adulterous affair—is a top-notch courtroom drama that will keep you guessing if you haven't read the book; even if you have, it is still a very well crafted story, directed by Alan J. Pakula (Klute, All the President's Men), who collaborated on the script with Frank Pierson, and effectively shot by Gordon Willis.
Ford was born to portray taciturn, bright professional men, and Alan J Pakula was a consummate director of taut thrillers, with Klute and The Parallax View among his credits.
Based on Scott Turow's best-selling novel and directed with style by Alan J. Pakula ("Klute," "Sophie's Choice," "All the President's Men"), "Presumed Innocent" is a first-rate, intelligent thriller/courtroom drama of the kind we see all too seldom these days.
Directed by Alan J. Pakula (Klute, Presumed Innocent), the film never shows any bad guys or showdowns, and yet it sustains a palpable sense of menace.
Alan J. Pakula ("The Parallax View," "Klute," "Sophie's Choice," "The Pelican Brief") directed and Dustin Hoffman and Robert Redford star as the two fledgling reporters who broke the case.
He’s had some fine movies: “The Sterile Cuckoo” and “Klute.”
Later to precipitate a string of paranoia-charged 70s thrillers (" The Parallax View " and "All the President's Men") from the director, "Klute" still perhaps stands as Pakula's finest moment.
A movie resolutely of its moment that still surges with third-rail electricity, Alan J. Pakula's 1971 neo-noir Klute, about a New York City prostitute being stalked by a sociopath, is heralded as the first installment of the director's "paranoia trilogy," followed by The Parallax View (1974) and All the President's Men (1976); all three films were lensed by the great Gordon Willis, master of mood and shadow.
Look at the detective movies from this period (Chinatown, Night Moves, The Parallax View, Electra Glide in Blue, The Conversation, Klute), of which All the President's Men is one: Nobody knows anything and, after further investigation, they know even less.