The role Hanoi Jane was born to play. She doesn't Eve have to act. She is a Hooker.

Weak plot, painfully slow storytelling, average acting other than Jane Fonda, and no thrills whatsoever in the whole movie. I fail to see why it's so highly rated. It was a big pain to watch.

A film that takes its time and make you grateful for it.

Klute is impeccably shot - every scene is meticulously crafted. This style combined with Jane Fonda and Donald Sutherland’s performances is what make it a compelling movie despite some writing/plot misses (the third act lost us for awhile). The trundle bed scene is peak cinema humor, and really liked the therapy monologues slowly revealed throughout.

A great film with one of Jane Fond’s best performances. I think you have to be of the times that this film was made to truly appreciate the artistic quality of it. It is smart, which is something you no longer see in films. It is a psychological study which is something the current generation of directors and screenwriters simply do not understand, nor to which they relate. It is not about flash over substance and the pace is slower than films today, to give you time to absorb and ponder, not to beat you over the head with optics and message.

It's a classic. Not a lot of dialogue - to the contrary almost mute performances by Donald Sutherland, love interest and detective and Vivian Nathan as Jane Fonda's psychiatrist. Excellent, atmospheric soundtrack as well. It feels, in many respects, as a template for the many psychological thrillers produced since its debut in 1971.

Good acting by Fonda, but why is it called Klute, it should have been called Bree - he has an almost secondary role, and we get to enjoy little of Sutherland’s acting chops. The worst parts are the editing and directing, which are tedious and disjointed and create a slow, dark, barely visible cacophony. The music is difficult to sit through, providing an atmosphere of danger and weirdness that never actually delivers. The culprit is revealed early and is dispatched with rather easily in the end. Yawn. This film could have been great, but it isn’t; it obviously wants to be a taut, cerebral, suspenseful thriller, but it’s much to do about nothing instead. Thin plot, poorly narrated, no evolution. There is little to it other than Bree’s personal issues discussed at length in her therapy sessions. Most of the reviews are very generous, probably due to Klute’s creators’ and actors’ clout - no pun intended.

This hasn't aged well. Slow. No real pay off.

The romance is a little unconvincing, but I like that the mystery/thriller stuff comes to a pretty believable conclusion. This is the perfect role for Fonda, allowing her to be both tough and vulnerable.

A man tries to discover the secret of his missing friend and realizes he is in a web of mystery, murder, and love.

Well directed film featuring Jane Fonda's greatest performance

While the atmosphere of paranoia and suspense was nicely developed, the suspense and tawdriness didn't add up to a great movie, unfortunately.

While it's the lowest film in terms of ranking in Alan J. Pakula's Paranoia Trilogy, that says nothing to the grittiness that Pakula and Jane Fonda provide in this haunting film. Donald Sutherland offers some consideration, but it's Jane Fonda's film for the most part.

Klute showcases Jane Fonda at her utmost, where she gets completely into character and displays signs of both toughness and vulnerability. Donald Sutherland's rather dull character in contrast to Fonda's, somehow fits right into the puzzle. The script has so much to tell yet does it with so little dialogue, and a lot of directorial brilliance by Alan J. Pakula. The other members of the cast also exhibit great performances, mainly Roy Scheider and Charles Cioffi, who is assigned a great monologue around the end of the movie. This 70s cinema splendor is a must-see.

They don't make films like this anymore. 70's nuanced filmmaking at its best. It's rare to see a film that explores human weakness, fragility or the inner psyche of a prostitute. There are complex character dynamics of love, hate, mistrust, sex and resentment between Donald Sutherland's character and Jane Fonda's character that drives the film. Along with a mysterious and dangerous villains that is seldom scene. This all creates atmosphere and tension, something that is solely missing from today's cinema landscape. No super hero CGI fights in this film.

Alan J. Pakula's Klute is a tightly woven thriller that takes place in the dark shadows and the seedy underbelly of New York. Klute (Donald Sutherland) is a private investigator hired to find a missing Pennsylvania business executive, the only clue being a hostile letter addressed to a call girl, Brie Daniels (Jane Fonda). Thanks to Pakula's direction, it's an atmospheric and stylish film noir that features a wildly complex plot, a subdued but effective performance from Sutherland, an Oscar-winning performance from Fonda, and simmering suspense created via a great score in conjunction with lengthy takes. Those used to the fast-paced thrillers of today will find it slow, but those willing to sit back and immerse themselves in the movie will be rewarded.

Maybe I'm stupid but I didn't understand the entire thing... Fonda in those last few scenes however is particularly compelling and impressive. Donald Sutherland is also really good.

In Alan Pakula's informal 'Paranoia Trilogy', Klute stands something of the odd film out; the other films, The Parallax View and All The President's Men are far more explicitly political and intense (for a thriller, Klute isn't all that thrilling). Instead of a twisted conspiracy against unseen forces, the film is very much street-level and straightforward, opting for tight human interaction to generate plot progression; notably, Pakula doesn't strive for perfection in the delivery, keeping takes with small hiccups in the delivery, actors talking over one another or awkardly fumbling when it serves the tone appropriately. The 'main' story is really secondary to the character development of Fonda's Bree, a streetwalker whose liberation, past traumas, and personal flaws are brought out in vivid detail by an exceptional performance; the investigation is more of a mechanism to peek beyond the veil of a character who has built up a wall around herself out of a sense of self-preservation. Fonda received the Oscar for Best Actress for her role here and delivers depth to a role that was clearly intended to subvert conventions regarding the 'hooker with a heart of gold' archetype and largely succeeds, as she feels like a real person with desires, shortcomings, and fears. However, the tell-all sessions with a psychiatrist feel a bit too on-the-nose; how are we supposed to know that her stoic facade is cracking with the onset of genuine affection if she doesn't say so explicitly to a character that is only there for exposition. Could use some more subtlety on that front, in my opinion. Cioffi as the sadistic villain is well-cast in his brief supporting role, but feels under-explored, and what suspense is there feels largely manufactured by eery theramin music. The resolution is so low-stakes and passive as to feel almost insulting (spoiler: Cioffi's Cable hucks himself out a window at the first sign of potential conflict. All Klute has to do is walk into the room and it's suicide time). What we end up left with is a well-designed character study that happens to be paired with a particularly slow and pretty uninteresting thriller, high in its highs and low in its lows but still worthy of attention. (3.5/5)

Early American Giallo that really had more emphasis on the tension rather than gore. Despite the filming, acting, music and cinematography, there is something slightly missing. Donald Sutherland is Klute, a detective looking for his friend who disappeared. He is lead to Jane Fonda's Bree Daniels, a call girl with a troubled past.

Not sure why this is called Klute when really it should be called Daniels. To me it's a really nuanced and non-moralising examination of sex work, way ahead of its time and probably as subtle as anything that might be made now. Fonda is fantastic, as is Sutherland.