Anyone else blown away by this film?
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ohxmyxitzxkee — 20 years ago(July 22, 2005 04:58 PM)
i agree. this film definitely blew me away. i rented the film just to see why jane fonda won her oscar for and i found out. i was stunned by how the film turned out and jane's performance. this is surely one of jane's best performances. i loved the screenplay in the film. they were sexual but it worked for me. some quotes from the film is absolutely rememorable. jane fonda shines. i don't think i would've liked this film if jane fonda wasn't in it.
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ldparasito — 20 years ago(August 16, 2005 07:15 AM)
Watched it last night for the 1st time. What a great film it is. The relationship between Klute and Bree is the heart of the movie and it fascinated me. She is so interesting, helpless, sexy, lovely, neuroticI've seen a lot of films in my life but only a few make me FEEL something. This film is one of them.
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slabones — 19 years ago(April 14, 2006 04:04 PM)
Incredible movie!!
I read another post about movies from 1970-1975,
being a golden age of movies. It is so true. We
just don't get these kind of gritty, dark, sometimes
hopeless kind of films anymore. Look at the variety
and quality of some of my favorites from 1971.
In no particular order:
Klute
A Clockwork Orange
Harold & Maude
The Last Picture Show
Dirty Harry
Willy Wonka
The French Connection
Straw Dogs
Banannas
Omega Man
Vanishing Point
Carnal Knowledge
Get Carter
Andromeda Strain
The list is far from exhaustive, and that is just one year.
More than a few classics in that list. Great year
Hey! You can't fight in herethis is the war room!! -
joekiddlouischama — 19 years ago(July 13, 2006 10:44 AM)
Look at the variety
and quality of some of my favorites from 1971.
In no particular order:
Klute
A Clockwork Orange
Harold & Maude
The Last Picture Show
Dirty Harry
Willy Wonka
The French Connection
Straw Dogs
Banannas
Omega Man
Vanishing Point
Carnal Knowledge
Get Carter
Andromeda Strain
The list is far from exhaustive, and that is just one year.
More than a few classics in that list. Great year
Others:
The Beguiled
(Don Siegel, 1971)
Play Misty for Me
(Clint Eastwood, 1971)
Sweet Sweetback's Baadasssss Song
(Melvin Van Peebles, 1971)
Shaft
(Gordon Parks, 1971)
Diamonds Are Forever
(Guy Hamilton, 1971) -
J_Malice — 19 years ago(April 16, 2006 02:25 AM)
I was. The way I found out about it was the documentary movie "Terror In The Aisles". I came here to look it up back in 2001 so I could see if it was the correct movie and yes, Sutherland, Fonda, it's the one. Couldn't find it in any video stores, so I guess it was just pure luck that it came on my digital cable system a few times. I looked at the TV guide and it said "Klute"; I nearly did a backflip because I was so interested in seeing it. I wasn't disappointed at all. Jane Fonda was so satisfyingly sexy as Bree and Sutherland had a way about him as he always does. I can't say anything good about this movie that hasn't already been said. Klute rules!!!
I've killed three people, but yet I don't consider myself a terrible man -
murray_johnc — 19 years ago(July 15, 2006 01:17 PM)
Yes, I was blown away when I first watched this movie in London Gngland. A true landmark film of the genre - head and shoulders above most of the early '70s fare. One thing puzzled me howeever, and you might be able to shed light on it. For such an excellant tight scipt, there shouldn't be any loose ends or creative cop outs in the plot, so here's my question. In the final 10 minutes, how was John Cable able to find Bree Daniels at Goldfarb's Garment Factory? Unless I was inattentive I don't recall any shot of John Cable following her there or finding a clue in Bree's address book, etc. Also, Klute only manages to get a forwarding number by pretending to be a policemen, so how did he trace it to the garment factory? Did reverse directories exist in 1971? Please leave a comment if you have time.
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L0GAN5 — 19 years ago(July 15, 2006 01:41 PM)
Klute is actually a policeman - just one that's out of his jurisdiction. As for Cable finding Bree, there are quite a few long range "tracking shots" of her throughtout the film so I think the inference is that Cable simply follows her to Goldfarbs.
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jspivack-2 — 19 years ago(November 28, 2006 11:29 AM)
murray johnc,
Yes, absolutely. Reverse directories such as the "Haynes Criss+Cross " and similar directories from other publishers have been around for many decades in the US, going back at least to the 1940's to my knowledge. These directories were available on a subscription basis, updated quarterly, and were used by debt collection agencies, direct marketers, police departments, and private investigators (like me). Many public libraries also had reverse directories available in the reference section. You could look up listings by name (last name first, of course), address (which would show all listed telephone numbers/names at a given address [useful for apartments]), and by telephone number. Detectives often referred to the reverse directories as "blue books" because of the blue pages on which they were printed, and even used "blue-book" as a verb, as in, "hey dispatch, can you blue-book a number for me"? These directories were published on a citywide basis, just like conventional phone books; but as a subscriber, you could call the publisher during normal business hours, and have them look up a number or address for you in a different city. Another interesting aspect of reverse directories is that because they obtained their data from the phone companies, non-published and unlisted numbers did not appear.
A similar product available during those halcyon days long before the Internet was the "city directory", which DID contain most non-published and unlisted telephone numbers, along with a virtual goldmine of information, including names all adult members (and sometimes even children) in the household, plus the occupation and employer of employed adults in the household. How did they get all this sensitive information? They asked for it! City Directory publishers sent armies of canvassers door to door, who either charmed or cajoled most people into willingly giving up all this very personal information, even those people who had actually paid an extra fee to the telephone company to have their number non-published or unlisted!
As to your main question, it's been a long time since I've seen "Klute", but I would speculate that after he got the forwarding number, he called a little known number available to phone company technicians (and wily investigators/detectives) called a "CNA" line. If you had the number, you would simply call it up, impersonate a telco employee, and ask the operator at the other end for a CNA (Customer Name and Address) for the number in question, e.g., "Hi, this is Jim Bob at frames. I need a CNA on 212-555-XXXX". You might occassionally be asked for an employee number (always a 5 digit number back in those days), and you could usually make one up and still get the information. The trick is that the operator didn't actually have a way of verifying your bona fides, she (always "she" back then) wanted to see if you would come back with it immediately or choke on your reply. The great thing about CNA lines is that they were always up to date.
In another classic movie of the era, "Three Days of the Condor", Robert Redford's character played the dialed number portion of a tape from a wiretap back to a semi-automated system to first decode the DTMF (touch tones) digits dialed, and then spoke to an operator to obtain the CNA. This system was operated not by the telephone company, but by "THE Company", the CIA. -
wilkat — 10 years ago(April 04, 2015 10:02 PM)
Sure, reverse directories have been around for as long as the regular kind. I think they're called criss-cross directories.
Speaking of reverse directories, it reminds me of the scene in
L.A. Confidential
when Kevin Spacey as Jack Vincennes asks the assistant, Ginger, to look up a number in the reverse (or criss-cross?) directory for him.
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electron_jazz — 19 years ago(July 15, 2006 01:18 PM)
Klute is one of my favorite movies-period! Everything is just perfect- the atmosphere, characters, music, photography.. I got hold of the DVD a year ago, and I even managed to buy the soundtrack on vinyl from a record collector. I am amazed how underrated Michael Small seems to be these days. Too bad the music hasn't been made available on cd yet!
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kathryn49 — 19 years ago(August 11, 2006 10:00 PM)
This is one of my (if not my absolute favorite) favorite movies. i love the seventies and it's films (even though i wasn't born yet) and this definately is top of the line and underappreciated. i was blown away by pretty much everything, the performances, the direction (pakula deserves way more credit) and the cinematography, it's dark yet incredibly unique. i've seen it countless times and have yet to tire of it. i personally paid more attention to the lovestory than the thriller portion of it, it's complex and makes you think (which makes some parts all the more better), unlike the cliche's of today's lovestories. and in some cases seeing it can make you think about a lot of things, love, sex, isolation, can you name any other movies that can do that so well? i didn't think so. why can't they make them like this anymore?
want to know what really sucks though? i can't buy the dvd because i'm underage.mpaa-goddamned hyppocrite squares!
hehehe.
i once fought an elephant in my pajamas, how it got in my pajamas i don't know. -
Catdubh — 19 years ago(August 13, 2006 06:43 AM)
I too love this film. It has become a favorite of mine. Sutherland and Fonda were wonderful.
I love Fonda's character, Bree Daniel. "You're very square". "We'll have a party". "What kind of party did you want?" "I'm just a nervous broad."
"was he a freak?"
See what a difficult situation you've created. Proud of yourself, now are you? -
rrb — 19 years ago(September 26, 2006 08:47 PM)
It's great to see that so many of you adore this film, as I do. I was in high school when it came outit's one of many R-rated films I snuck into as a 15-year-old. That was such an incredible time in moviesMASH, Klute, French Connection, The GodfatherHollywood was just starting to release major studio films that were irreverent, gritty, sexually frank, sometimes shockingly violent (for the time)breaking new ground with works that are now considered classics. The New York of Klute is another aspect I love. Its presence is as strongly felt as any character'sits squalor, danger, luridness all add an unnerving atmosphere & implicit threat of violence. The acting's superb & subtle, the score spare and effective (I especially love the smoky "love theme"), and yessadly, they just don't make them like this anymore.