Jan. 28, 2026

Jane Fonda’s Groundbreaking Role in Klute (1971)

Jane Fonda’s Groundbreaking Role in Klute (1971)
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Jane Fonda’s Groundbreaking Role in Klute (1971)
Jane Fonda’s Groundbreaking Role in Klute (1971)

This week on the Cinematic Flashback Podcast, Chuck and Matt step into the shadowy streets of early-’70s New York to unpack Klute, Alan J. Pakula’s moody, character-driven thriller that helped redefine American cinema in the decade to come. Starring...

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Season 2

(00:00:00) Introduction to Paranoia in Film
(00:05:02) Exploring Clute: A Deep Dive
(00:11:56) Jane Fonda's Transformative Role
(00:18:06) Cinematography and Themes of Light and Shadow
(00:23:57) Character Dynamics and Relationships
(00:30:04) The Investigation Unfolds
(00:36:05) Clute's Ending and Its Implications

This week on the Cinematic Flashback Podcast, Chuck and Matt step into the shadowy streets of early-’70s New York to unpack Klute, Alan J. Pakula’s moody, character-driven thriller that helped redefine American cinema in the decade to come.

Starring Jane Fonda in her Academy Award–winning performance as Bree Daniels, a New York call girl navigating autonomy, fear, and self-definition, the film pairs her with a restrained, quietly empathetic turn from Donald Sutherland as private investigator John Klute. While the film bears his name, the heart of Klute belongs to Bree — her interior life, her contradictions, and the emotional cost of being constantly watched.

Chuck and Matt explore how Pakula uses surveillance, voyeurism, and silence to shape the story, aided by the striking cinematography of Gordon Willis, whose shadow-heavy visuals earned him the nickname “The Prince of Darkness.” Together, they discuss how Klute marks the beginning of Pakula’s unofficial “paranoia trilogy,” setting the stage for The Parallax View and All the President’s Men.

Along the way, the conversation dives into Jane Fonda’s career-defining pivot away from ’60s glamour roles, the cultural shift that allowed Hollywood to confront sex work without moralizing, and why the film’s investigation matters far less than the personal transformation at its core. The hosts also debate the film’s controversial ending and whether its quiet optimism feels earned—or intentionally unresolved.

Does Klute still groove more than fifty years later, or does it lose its beat? Grab a drink, step into the shadows, and join Chuck and Matt as they decide.

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WEBVTT

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Would you like my friend Frankie?

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Not very much?

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Didn't he tell you what you wanted?

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Where can I find Arland's page?

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You're not going to find Arlan page.

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She's a junkie.

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Didn't he tell you that he sent me that guy?

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Dane McKenna sent you that guy?

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Well she's dead.

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Welcome to the Cinematic Flashback Podcast. Get ready to hop

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into the wayback machine as we journey through the wild, bold,

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and unforgettable films of the nineteen seventies. Each episode, we

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break down a classic movie or forgotten Jim by exploring

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the who's who of each film, diving into the premis

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and plot, seeing how it performed then and now, and

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wrapping things up by asking did it growth of the

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decades or did it lose its beat? Today we're reviewing

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Clute from nineteen seventy one, directed by Alan J. Kola

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and starring Jane Fonda and Donald Sutherland.

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I'm your host.

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Chuck Branted, joining me as my co host Matt Sargent. Matt,

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how are you doing?

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I am well. I am well and happy to be

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back in the podcast chair.

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So last time we talked about the French connection. Well,

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I don't want to be that kind of person. But

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we talked about the French Connection too. Can I say

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that connection? Oh, that's okay.

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They're both great movies and we had a great time

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talking about them. If you haven't listened to that episode,

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go back and listen to it because the French Connection two.

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It's a cool transition from the French Connection to the

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French Connection two. Some of the same characters, but you

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get to spend a lot of time in Marseille and

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if you like to listen to French people talk French.

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It's a great movie. We enjoyed it.

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I just like that it wasn't a retread beat per

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beat of the first movie, and so I think that

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was a great example of how you can make a

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sequel and not feel like you're just you know, retreading

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the same waters.

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This was really truly a sequel. It kind of continued

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the end of the story. It had a nice change

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in uh sort of tenor and tone, and the action

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was still there. There was a lot. It was good,

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and it was a very good movie in its own right.

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I think it wouldn't have been as good without seeing

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the French Connection first. But the French Connection was so

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popular that that was really not going to be an issue.

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So I did enjoy that. But we're talking about Clute.

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Hey, one of the characteristics of the Cinematic Flashback was

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we didn't give spoiler warnings because we weren't going to

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spoil a film because ultimately we wanted people to go

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and see the film if they thought it was a

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good idea. However, that makes it really really difficult for

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us to talk about a film, you know what I mean.

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It does kind of put handcuffs on us. And also inadvertently,

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when you're talking to somebody like me who has a

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hard time shutting up, I'm going to give a spoiler

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by mistake. I mean when I tell people about a

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recent movie, and we have to be very very careful

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because I don't want to ruin it for them, you know.

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And so I agree we need to find a solution

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for doing that.

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So during the recent holidays, I was listening to other

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podcasts that are out there that I haven't listened before,

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and I came across one that was actually reviewing Clute.

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They spent a portion at the beginning being completely spoiler free.

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So whatever they talked about during that segment there was

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not going to be a spoiler, and then they would

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transition into another segment where from here on out there

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possibly could be spoilers. And I think that that was

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a really good way to handle it, because if somebody

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wanted to just get enough information about whether or not

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they even wanted to see the film, they could they

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could pause and then come back later to finish it up.

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Doing it that way is we can be very circumspect

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at the beginning and talk about general strokes and things

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like that and things that won't ruin the film. But

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there's certain times when we get into the details of

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what's happening in the film that that we might not

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be giving a spoiler, but you might be able to

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do what's going to happen through some of the details

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we give, and we don't want to feel bad. So

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at some point, what I'm assuming is you're going to say,

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from this point forward, there be beasts. Beware.

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I think that actually happened on the on Black Sunday,

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because it's like, Okay, Robert Shaws trying to get on

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the on the blimp, and well, I guess you can

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kind of figure out what happens from there, but we're

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not going to say it. It's like, oh, okay, apparently

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he survives. Yeah, I think that will be a good

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way to handle it.

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I agree.

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Hey, I see you got something there in your hand.

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What are you holding? We got a review from Louisiana

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law Dude. It's the first review we're going to read

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on air, and we really want to express our appreciation

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for these reviews. Obviously we're going to cherry pick the

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very best of them, and Louisiana law Dude clearly has

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a mastery of the English language and he's able to

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express his feelings about the podcast so incredibly Well, let

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me read you his words quote. I believe the best

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podcast are those where the hosts clearly love the subject

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of the show, and Cinematic Flashback provides ample proof of

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that supposition. Chuck Is and his crew clearly love film

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and are deeply knowledgeable on the topic, So you know

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from the start you're in for a fun listening experience.

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After binging four episodes today, I'm hooked.

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Awesome feedback, Right.

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You can just refer to me as the crew. Actually,

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you've had some guest host in sitting in my chair

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a couple of times, which I'm one hundred percent on

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board with Really, Chuck is the one that does all

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the work. He's the one that does all the production.

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So really, these kudos are really for you, Chuck. I'm

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just a happy, happy pal that gets to talk about

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movies with you. So so this is really a reflection

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on your you and your work, and we really are

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very thankful. Before we dive in, though, we're going to

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take a quick break, stick around.

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We'll be right Backree Daniels.

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One man is missing, two girls lad dead, and somebody

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is on the other end of the phone.

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Don't be afraid, don't be afraid. Don't be afraid.

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Who is it, Daniels?

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Can I come in?

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Come in, Bree Daniels. Girl on the brink.

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Somewhere among her clientele is a freak who murders call girls,

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sit down, and a why incredible cop who insists her

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life is worth saving.

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I don't think he's going to come back again.

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I just don't want to be alone right now.

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Don't be afraid, don't be afraid.

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What else do you remember about the man of Drupe?

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Nothing except that he wasn't kidding, That's all. But you

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cannot identify this man as Tom Grunneman.

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I can't identify him as any buddy, give.

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Me your hand.

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It's someone on the roof.

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Did you like my friend Frankie?

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Not very much?

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Hey, their tapes, gollee Gee, just what I've always wanted

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thirty phone calls.

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Is mister goldfarg There.

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I've got to talk to somebody. I'm just a little

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way across town.

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Can I come over, Detective Trusk please? Hi, John Clute,

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he didn't take the plane. He canceled up.

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Well.

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I think this man killed Jane McKenna and killed Darland Paige.

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I think he drowned them. I think you should prepare

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yourself for the fact that possibly Tom is dead. But

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the only way I'm going to find out is to

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find him.

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I find I'll notify the board as soon as I

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get to Chicago. Oh hello, don't be afraid, don't be afraid.

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Welcome back. Clute stars Jane Fonda as Bree Daniels, who

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is a New York call girl. She is connected to

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the disappearance of one Tom Grudeman by a series of letters.

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Very risque and disturbing letters found in his desk. After

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the case has stalled, the family hired Tom's friend John Clute,

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played by Donald Sutherland to go to New York and

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investigate the disappearance and the fire.

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Clute was directed by Alan J. Pakula and is the

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first in his Paranoia trilogy, which includes nineteen seventy four's

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The Parallax View and nineteen seventy five All the President's Men.

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It was also the start of Pakula's collaboration with cinematographer

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Gordon Willis. The film was released on June twenty fifth,

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nineteen seventy one, by Warner Brothers. Plute is available on

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most major streaming services. On Rotten Tomatoes, it's certified fresh

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at ninety four percent from forty seven reviews, and the

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audience score is seventy nine percent with nearly five thousand ratings.

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I actually think that those ratings are probably right. I

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could really see maybe how this film would really resound

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with critics, but maybe not as much with audiences. Yeah,

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I think that's a reasonable statement. We talked about this

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before we started taping. Is that the movie's named Clute,

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but really it should be named Bree Daniels because the

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entire movie is really about Brie Right and Jane Fonda

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turns in an Academy Award winning performance for portraying Brie.

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Brie is a very nuanced character. She is playing a

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call New York call girl who has worked at the

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very very highest levels and down into more of a

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casual call girling. Right.

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Yeah, she has moved out of her Park Avenue apartment

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because she's not getting as much business anymore. But there's

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a reason for that.

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Sure. I just wanted to talk a little bit about

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Jane Fonda's trajectory because one of the interesting things is

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that Jane Fonda's career really started, really started with more

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of a cotton candy type of roles. She was in

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Barbarella and really she was eye candy in Barbarella.

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Oh yeah, I remember that movie.

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I've heard her referred to as an interstellar sex kitten,

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all glamour and zero gravity. But by the nineteen seventy

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she was shedding that skin fast. In nineteen seventy she

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did They Shoot Horses, Don't They, which showed glimmers of

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her depth. But it was Clute in nineteen seventy one

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that really marked the shift, earning her her first Oscar

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in nineteen seventy two, and she was quite young to

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win an Oscar in this role. I think it can

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be argued that it was the role itself and not

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one hundred percent her acting in the role, although it's

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hard to separate the two. It was a groundbreaking role.

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But of course a lot of the reasons that you know,

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is that Persona as a feminist firebrand really started to

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launch in this role. You know, a lot of people

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have a lot to say about her activism or anti

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war crusade. Some people hold her in low regard because

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of some of the things she did. She went on

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in her career to turn in amazing performances, but she

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got her Academy Award for this role. By the way,

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she won the Academy Award for Best Actress playing Bree

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Daniels the same year Gene Hackman Best Actor for The

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French Connection, which strangely enough, we have reviewed on the

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Cinematic Flashback Files.

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Yes, I think we talked about Clute because we were

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talking about Gene Hackman having won the Academy Award, and

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I think I looked up and saw that Jane Bonda

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had won the award for Clute, and I thought it

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was kind of a funny name. I had never heard

223
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of the film, and I think at the time you

224
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said that you had heard of.

225
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This, you know, it's funny. I was absolutely positive. I

226
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had seen the movie Clute before, and then when I

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watched it, I was like, I don't think I've ever

228
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seen this movie before. I think I totally mistook it

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for a different movie. So it was cool for me

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to sort of see this movie that I had never

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seen before, but I had kind of believed I had.

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So that was neat And it may happen to some

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of our listeners, and if it does happen, we'd love

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to hear from you in the form of a review.

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And if you're lucky and the review is as well

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written as Louisiana law dudes, we will read it on it.

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Nice, very nice, you know. I for some reason, I'm

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starting to suspect that maybe the film you're thinking of,

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because you're kind of thinking of it like some kind

240
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of hard boiled detective. I'm wondering if you're thinking of

241
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Elliott Gould in The Long Goodbye, which is Believe it

242
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or not, that's a Robert Altman film, the guy who

243
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directed Mash and mccab and Missus Miller and is coming

244
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up in season two for us.

245
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That'd be great because I think I might have been

246
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thinking of that. I certainly was thinking of something more

247
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along the lines of like a Maltese falcon or some

248
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other DASHL Hammett type. That's what was coming to mind

249
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when it was gonna be a hard boiled detective. And honestly,

250
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in this movie, Clute is a good guy. He's in

251
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the situation where he's having to surveil people, which is

252
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never a comfortable position to be in, and in this

253
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movie that kind of works through the movie, and it's

254
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a part of the part of the trajectory of the movie.

255
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When you really get down to it, he's a good guy.

256
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He's a very good guy.

257
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I don't know what I was expecting from this movie.

258
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I read the description and I was kind of like,

259
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I really want to do this one or not, because

260
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I was actually very surprised for a movie that was

261
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probably filmed in nineteen seventy it released in seventy one,

262
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just about how direct it was. In talking about sex

263
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work Breed Daniels, she'd go to the John, She'd say,

264
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I know you only want to spend fifty bucks, so

265
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tell me what you want to do, and she goes, oh,

266
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that sounds very good. That's a great idea. I like,

267
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your mind, it's going to cost you one hundred dollars,

268
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and I'm like, wow, Hollywood was definitely loosening up.

269
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Well, I think it's actually larger than that. I think

270
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all of American society was loosening up. Remember, we were

271
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coming out of the sixties and we're getting into what

272
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we would call the more mainstream seventies. But I think

273
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that was what I was kind of intimating before when

274
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I talked about this Academy Award, and to some extent

275
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to me, was given the Academy Award because she was

276
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portraying a character that had never ever been seen on

277
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screen before, a sex worker. I think that brought a

278
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lot of attention. Now, don't get me wrong, I'm not

279
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trying to short sell Jane fondas she would have been

280
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anybody and they could have ruined that. She absolutely played

281
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it exactly how it needed to be played. So for

282
00:16:19.720 --> 00:16:24.120
that reason, great, great job. But the added fact of

283
00:16:24.159 --> 00:16:29.519
a woman talking so openly about sex and sex work,

284
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and then there's a whole sort of introspection that happens

285
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when she's talking to her therapist that you get the

286
00:16:37.159 --> 00:16:39.840
sort of point of view of this woman in this

287
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particular situation and under these circumstances that you would normally get.

288
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But it was very shocking for the time. I mean,

289
00:16:46.879 --> 00:16:49.639
remember I was ten years old. I didn't see this movie.

290
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It was no way going to see it at ten

291
00:16:51.519 --> 00:16:54.320
years old, right. I do remember my parents and my

292
00:16:54.360 --> 00:16:58.639
older brother, not somethly my older sister talking about it.

293
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So it's probably very remarkable, especially the fact that there

294
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was There wasn't a ton of nudity. There was a

295
00:17:06.960 --> 00:17:11.039
very small amount, but she was costumed in such a

296
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way to be quite alluring.

297
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Most of the time, did Hollywood have some kind of

298
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code that they would say, hey, we're not going to

299
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do this or do that.

300
00:17:18.920 --> 00:17:22.400
Yeah, they really did, and this was an interesting time.

301
00:17:22.680 --> 00:17:26.039
The Hollywood Production Code, or the Hayes Code was what

302
00:17:26.160 --> 00:17:29.559
was in effect basically all the way up until the

303
00:17:29.640 --> 00:17:33.640
late nineteen fifties. It didn't allow anything from lustful kissing

304
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or any kiss that lasted too long or was in

305
00:17:36.960 --> 00:17:39.880
an embrace that was too close for too long, and

306
00:17:40.359 --> 00:17:42.960
crime couldn't be shown as paying off.

307
00:17:43.680 --> 00:17:46.400
Well, that would have ruled Clue out alone.

308
00:17:46.680 --> 00:17:51.160
Well, certainly the French connection true first French connection, right,

309
00:17:51.559 --> 00:17:54.200
but it started crumbling in the late nineteen fifties with

310
00:17:54.240 --> 00:17:57.519
films like Some Like It Hot, But then around nineteen

311
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sixty eight, the MPAA switched to a rating system, and

312
00:18:01.720 --> 00:18:05.319
with a rating system they could basically make the argument that, hey,

313
00:18:05.359 --> 00:18:07.839
no five year old, eight year old, ten year old

314
00:18:07.880 --> 00:18:10.279
is in this movie theater, so we can talk about

315
00:18:10.319 --> 00:18:14.440
adult themes. I think carnal Knowledge, the Last Tango in Paris.

316
00:18:14.680 --> 00:18:18.519
They are all pushing boundaries on desire and power, and

317
00:18:18.720 --> 00:18:21.680
clute was ahead here, one of the first to openly

318
00:18:21.720 --> 00:18:25.359
portray sex work without moralizing. Bree's not punished for being

319
00:18:25.359 --> 00:18:28.839
a sex worker, She's humanized. This movie plays a lot

320
00:18:28.880 --> 00:18:32.960
with the male gaze or that viurious camera ejectifying women,

321
00:18:33.599 --> 00:18:38.200
but contrast that with the female perspective. Breeze often shown

322
00:18:38.519 --> 00:18:42.680
as diminished or watched and cretiquing on how society boxes

323
00:18:42.720 --> 00:18:43.119
women in.

324
00:18:43.359 --> 00:18:47.599
So from her perspective, we see what she says, we

325
00:18:47.720 --> 00:18:51.240
see how she acts, and then I think in the Psychiatrist,

326
00:18:51.480 --> 00:18:54.920
we see how she really really thinks. I think those

327
00:18:54.920 --> 00:18:58.119
are the truth, So you get that. But then this film,

328
00:18:58.319 --> 00:19:02.279
it felt like that you're always following her and in

329
00:19:02.319 --> 00:19:04.240
some cases you're participating in.

330
00:19:04.519 --> 00:19:08.200
The voyeurism, yeah, without a doubt. And there's a couple

331
00:19:08.279 --> 00:19:12.279
of particular points in the movie. Bria's in her apartment

332
00:19:12.519 --> 00:19:14.599
after she had met with a client, and she's of

333
00:19:14.640 --> 00:19:18.440
course doing domestic things, but the angle we're seeing is

334
00:19:18.799 --> 00:19:22.920
from above, like through a skylight, like we're we're peeping

335
00:19:23.079 --> 00:19:26.880
on her and watching her instead of just filming her

336
00:19:26.920 --> 00:19:29.799
moving around the room. There's sort of this this watching.

337
00:19:29.920 --> 00:19:32.599
And then there's a scene where she's in the garment

338
00:19:32.720 --> 00:19:35.000
district with old mister Goldfarb.

339
00:19:35.279 --> 00:19:36.359
Glue.

340
00:19:36.240 --> 00:19:42.960
Yeah, we're laughing because because Archie Bunker's wife, Jean Stapleton,

341
00:19:43.039 --> 00:19:47.759
plays the part of mister Goldfarb's secretary, and it is hilarious.

342
00:19:48.039 --> 00:19:50.759
It's so funny because the minute she comes on, instantly

343
00:19:50.839 --> 00:19:53.079
you know who she is and you're like, oh, so

344
00:19:53.119 --> 00:19:57.680
that's that's what Edith did, was ol far and she

345
00:19:57.720 --> 00:19:59.960
had to get back home before Archie got home from

346
00:20:00.119 --> 00:20:02.279
the bar or the loading docks wherever you.

347
00:20:02.359 --> 00:20:04.519
Or you know. With mister Goldfarb, she has kind of

348
00:20:04.519 --> 00:20:07.359
a unique relationship. It's sort of based on sort of

349
00:20:08.319 --> 00:20:11.480
a fantasy playing out of fantasy. She doesn't actually sleep

350
00:20:11.519 --> 00:20:13.960
with him at all, She just talks with him and

351
00:20:14.240 --> 00:20:17.160
it has sim alurying things, and he seems to be

352
00:20:17.400 --> 00:20:20.480
actually a sweet old dude. But you see that Clute's

353
00:20:20.519 --> 00:20:23.039
in there and he's watching her because he believes she

354
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may have some information on what happened to this man

355
00:20:25.960 --> 00:20:28.920
that he's trying to locate. So we certainly see some

356
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of that creepy being, you know, in cahoots with Clute

357
00:20:32.960 --> 00:20:35.920
as he peeps on her, and it's uncomfortable. You want

358
00:20:35.920 --> 00:20:38.440
to look away. You're like, hey, dude, nothing's happening here

359
00:20:38.440 --> 00:20:41.079
that you need you need to film or record or

360
00:20:41.160 --> 00:20:41.559
listen to.

361
00:20:42.079 --> 00:20:45.559
Let's talk about Donald Sutherland. This is after Mash, this

362
00:20:45.640 --> 00:20:48.720
is after Kelly's Heroes. I thought he was going to

363
00:20:48.759 --> 00:20:52.759
be somewhere in that area. What we got was a

364
00:20:53.119 --> 00:20:57.440
very subdued performance. It threw me off, how about you.

365
00:20:57.599 --> 00:21:00.759
I'm actually shocked that it was after Mash in Kelly's Heroes,

366
00:21:00.799 --> 00:21:03.680
because he comes off as being so I don't want

367
00:21:03.680 --> 00:21:07.079
to say unsure of himself, but just so quiet, you know.

368
00:21:07.160 --> 00:21:10.079
After playing both of those roles, I think it really

369
00:21:10.119 --> 00:21:13.680
shows what a great actor Donald Sutherland was. He is

370
00:21:13.720 --> 00:21:16.160
and remains one of my favorite actors of all time.

371
00:21:16.400 --> 00:21:19.200
He really had a lot of range, clearly. Honestly, I

372
00:21:19.240 --> 00:21:21.720
say this every podcast. Have you haven't seen Eye of

373
00:21:21.759 --> 00:21:25.160
the Needle. You gotta watch that movie. Unfortunately it came

374
00:21:25.160 --> 00:21:28.200
out in the eighties. We're not going to review it here.

375
00:21:28.400 --> 00:21:32.480
Maybe some of the listeners will put in comments and

376
00:21:32.599 --> 00:21:36.599
request it, and we just it will be undeniable. Undeniable,

377
00:21:36.599 --> 00:21:39.519
do you get that? Fans put in your reviews, put

378
00:21:39.519 --> 00:21:42.000
in the request the Eye of the Needle with Donald

379
00:21:42.079 --> 00:21:44.640
Sutherland and it would be great. But no. Getting back

380
00:21:44.680 --> 00:21:46.799
to Clute, it is the name of the movie, but

381
00:21:46.839 --> 00:21:49.400
it's funny. He has a very small, I don't want

382
00:21:49.440 --> 00:21:52.000
to say diminished role, and it certainly is a role

383
00:21:52.039 --> 00:21:55.960
that is the thread throughout the whole film, right. Clute

384
00:21:56.039 --> 00:21:59.039
is there from the beginning to the end. Bree Daniels

385
00:21:59.079 --> 00:22:02.960
doesn't really appear until several scenes in, but she's then

386
00:22:03.119 --> 00:22:05.839
there through the end. So you know, it makes sense

387
00:22:05.880 --> 00:22:08.960
that it's named Clute, but it is not the Clute

388
00:22:09.039 --> 00:22:11.519
I was assuming him to be. I think we find

389
00:22:11.559 --> 00:22:13.960
the movie that he's originally a police officer and friend

390
00:22:14.119 --> 00:22:17.400
of the man who disappeared, and then he becomes a

391
00:22:17.400 --> 00:22:20.640
private investigator. So I think we're led to assume that

392
00:22:20.759 --> 00:22:24.400
he got frustrated with nothing happening about finding his friend,

393
00:22:24.519 --> 00:22:27.279
and so he quit the police force and got hired

394
00:22:27.559 --> 00:22:29.319
by the family to find the guy.

395
00:22:29.720 --> 00:22:32.720
I want to mention something. Gordon willis the cinematographer for

396
00:22:32.839 --> 00:22:35.119
this film. This is the I think maybe this is

397
00:22:35.160 --> 00:22:37.119
the first film that he worked with Pacula. You know,

398
00:22:37.160 --> 00:22:40.720
he did Paralllex View, All the President's Men and several

399
00:22:40.799 --> 00:22:43.640
other films with Pacula. He is known as the King

400
00:22:43.759 --> 00:22:47.880
of Shadows. So if you think about every time when

401
00:22:48.039 --> 00:22:50.799
Brie is walking up and going into our apartment, there's

402
00:22:50.880 --> 00:22:55.599
always all these shadows. Sometimes when she's in focus, her

403
00:22:55.680 --> 00:23:00.960
face is hidden in shadows entered John Clute. They slightly

404
00:23:01.039 --> 00:23:05.279
start to change the lighting, whether it's Clute physically turning

405
00:23:05.319 --> 00:23:09.799
on a light or you're starting to see that there's

406
00:23:09.880 --> 00:23:14.440
more light in the apartment until the concluding scene of

407
00:23:14.480 --> 00:23:20.039
the film. Something that I found very interesting about Clute's character.

408
00:23:20.480 --> 00:23:25.480
He represents this outside force that bri was not expecting

409
00:23:26.240 --> 00:23:31.240
and didn't want, but his character brought this light into

410
00:23:31.279 --> 00:23:31.960
her world.

411
00:23:32.200 --> 00:23:35.759
Yeah, one hundred percent agree, just real quick on that. Yeah,

412
00:23:35.799 --> 00:23:38.279
the cinematography, it's one of the parts of movies that

413
00:23:38.680 --> 00:23:41.920
I definitely do, Like I mean, you know, we've talked

414
00:23:41.920 --> 00:23:44.559
before that I'm not such a student on the music.

415
00:23:44.880 --> 00:23:47.960
I more of reacted to the music. And that's sort

416
00:23:47.960 --> 00:23:50.200
of the point of it sometimes, is that it's really

417
00:23:50.480 --> 00:23:53.519
exuding a reaction, you know, through doing this podcast and

418
00:23:53.559 --> 00:23:56.240
talking with you and being more critical about watching films.

419
00:23:56.240 --> 00:23:59.599
And that's why we encourage everyone that's listening to continue listening,

420
00:23:59.680 --> 00:24:02.960
because really opens up this whole new world of appreciation

421
00:24:03.160 --> 00:24:06.079
for the movies. And one of them is a cinematography. Really,

422
00:24:06.359 --> 00:24:08.359
you get to see how they play with the camera,

423
00:24:08.640 --> 00:24:13.200
how they're filming, how they're exposing the film to get

424
00:24:13.480 --> 00:24:16.960
the feeling that they're trying to get, and it's really amazing.

425
00:24:17.039 --> 00:24:19.680
I totally agree with that. But let's talk about some

426
00:24:19.799 --> 00:24:22.880
of the other characters and the actors that played them.

427
00:24:22.920 --> 00:24:27.200
So Charles Chaffe played Peter Gable, and believe it or not,

428
00:24:27.400 --> 00:24:30.319
this was his first time acting on screen. This was

429
00:24:30.359 --> 00:24:32.039
his first big role.

430
00:24:32.720 --> 00:24:34.880
That's amazing. I thought he had been around forever. I

431
00:24:34.920 --> 00:24:36.960
think I've seen him in about a million things.

432
00:24:37.200 --> 00:24:39.559
Afterwards, yes, you've seen him in a million things, but

433
00:24:39.799 --> 00:24:43.039
this is this is his part. Now. Cable is the

434
00:24:43.079 --> 00:24:46.519
guy that kind of initiates hiring clute to go in

435
00:24:46.599 --> 00:24:51.559
and investigate after the FBI or the police. The case

436
00:24:51.640 --> 00:24:54.920
kind of goes cold for six months and then he's

437
00:24:54.960 --> 00:24:58.079
on it. One actor. When his name came up in

438
00:24:58.119 --> 00:25:02.680
the credits, I was like, yes, Roy Scheider plays Frank

439
00:25:02.880 --> 00:25:03.440
the Pimp.

440
00:25:03.599 --> 00:25:07.079
Yes, Frank's not and Frank's a real slick character, you know,

441
00:25:07.240 --> 00:25:10.759
real he Schider did a great job. I mean, he

442
00:25:10.920 --> 00:25:13.400
really did a great job playing this kind of a

443
00:25:14.079 --> 00:25:19.839
swarmy right. You are so right on that, I'll be

444
00:25:19.839 --> 00:25:21.960
honest with you. When we saw him in what was

445
00:25:22.000 --> 00:25:24.440
the movie reviewed, Sorcerer, The Sorcerer.

446
00:25:24.920 --> 00:25:25.720
Yeah, Sorcerer.

447
00:25:25.880 --> 00:25:28.839
So good in that, so good in The Sorcerer again,

448
00:25:29.200 --> 00:25:31.160
another movie you got to see if you haven't seen it.

449
00:25:31.559 --> 00:25:36.000
Film like I can get behind Cloudy from French Connection, Yeah,

450
00:25:36.880 --> 00:25:40.920
Chief Brodie of course. Yeah, I forget his character's name

451
00:25:40.920 --> 00:25:44.640
in Sorcerer, but he Wow, what a film. Yeah yeah,

452
00:25:45.319 --> 00:25:48.799
And in this movie, I'm like, I feel like I

453
00:25:48.839 --> 00:25:51.000
gotta go take a shower to get because in.

454
00:25:52.559 --> 00:25:55.519
Chief Brodie he's such a clean cut an American. You

455
00:25:55.559 --> 00:25:59.119
know apple Pie and you know Church on Sundays. Dude,

456
00:25:59.200 --> 00:26:01.599
this guy is about one hundred and eighty degrees from

457
00:26:01.599 --> 00:26:04.200
that and it's totally believable. And he's a good looking guy,

458
00:26:04.279 --> 00:26:06.400
so there's there's part of that, you know, and he

459
00:26:06.480 --> 00:26:09.440
sort of treats you know. It's a good counterpoint in

460
00:26:09.440 --> 00:26:12.559
this movie because you have Bree Daniel sort of representing

461
00:26:12.599 --> 00:26:16.799
this awakening of women and women's liberation and empowerment, and

462
00:26:16.839 --> 00:26:19.440
then you have this guy who's one hundred percent throwback.

463
00:26:19.599 --> 00:26:21.359
He represents all the bad things.

464
00:26:21.559 --> 00:26:25.759
Great line in this film is when Brees says, pimps

465
00:26:25.759 --> 00:26:28.240
don't get you the dates, they just take the money.

466
00:26:28.480 --> 00:26:31.319
So Alan J. Pacula we mentioned that he directed The

467
00:26:31.319 --> 00:26:34.880
Parallax View and All the President's Men, but he also

468
00:26:35.160 --> 00:26:39.440
produced To Kill a Mockingbird and was responsible for getting

469
00:26:39.480 --> 00:26:43.880
Harper Lee's blessing for Gregory Peck, whom we last discussed

470
00:26:44.079 --> 00:26:47.240
in The Omen with Jeff Panano last October.

471
00:26:47.440 --> 00:26:50.480
Nice, I can't imagine that movie without Gregory Peck.

472
00:26:50.680 --> 00:26:53.400
Yeah, I cannot imagine The Omen without Gregory Peck either.

473
00:26:53.640 --> 00:26:57.119
I can't imagine To Kill a Mockingbird without without Gregory Peck.

474
00:26:57.319 --> 00:26:59.680
I was teasing you because I know how much you

475
00:26:59.720 --> 00:27:02.960
hate it. Him and The Omen. Yeah, he was not great.

476
00:27:03.079 --> 00:27:06.880
He was the wrong actor for that role. Rabatas be darned.

477
00:27:06.960 --> 00:27:10.079
But anyway, it's awesome. We have both of these films

478
00:27:10.240 --> 00:27:13.039
on our schedule, so Parallax View and All the President's Ben,

479
00:27:13.119 --> 00:27:16.119
which is great because I know I have seen All

480
00:27:16.160 --> 00:27:18.960
the Presidents Ben, but I don't think I've seen the

481
00:27:19.000 --> 00:27:22.240
Parallax View. I'll look forward to that, just to.

482
00:27:22.240 --> 00:27:25.720
Let you know, each one of these films tap into

483
00:27:25.759 --> 00:27:29.880
that paranoia feeling that was happening in America, starting with

484
00:27:30.279 --> 00:27:35.240
the assassination of JFK and going all the way through Watergate.

485
00:27:35.599 --> 00:27:39.359
Oh the things that you've always imagined were happening, Well,

486
00:27:39.400 --> 00:27:41.680
here's an example of where it's actually happened.

487
00:27:41.960 --> 00:27:45.279
Thank god it stopped with that. So well, we already

488
00:27:45.279 --> 00:27:48.319
talked about Gordon Willis a bit, and you title him

489
00:27:48.319 --> 00:27:51.519
the Prince of Darkness, So we're talking about what jumped

490
00:27:51.519 --> 00:27:54.240
out about his cinematography here. We talked a little bit

491
00:27:54.319 --> 00:27:57.640
about the shadows and the framing and the way he

492
00:27:57.720 --> 00:28:01.640
isolates characters. I think all of those are part and parcel,

493
00:28:01.680 --> 00:28:03.880
and I think we'll probably see more of that in

494
00:28:03.920 --> 00:28:06.799
The Parallax View and in All the Presidents. Man.

495
00:28:07.039 --> 00:28:10.200
We need to take another commercial break, but coming after that,

496
00:28:10.640 --> 00:28:14.039
we're gonna leave the spoiler free zone and we're gonna

497
00:28:14.079 --> 00:28:18.640
talk more about the film. Preeclute all of that. We'll

498
00:28:18.640 --> 00:28:20.079
be back in just a moment.

499
00:28:20.240 --> 00:28:24.880
All right, dearly beloved, we are gathered here today to

500
00:28:24.920 --> 00:28:27.880
celebrate Death Dates nineteen eighty four, a brand new show

501
00:28:27.920 --> 00:28:30.039
that will take you through the greatest pop culture year

502
00:28:30.079 --> 00:28:34.160
we have ever seen from movies, music, sports, toys.

503
00:28:33.759 --> 00:28:36.720
Television, and more. The show will be a chronological journey

504
00:28:36.720 --> 00:28:38.039
through every aspect of the year.

505
00:28:38.400 --> 00:28:39.599
So Who's gonna drive you home?

506
00:28:39.599 --> 00:28:41.359
And not let the glory days pass you by?

507
00:28:41.759 --> 00:28:43.200
Death Dates nineteen eighty four.

508
00:28:44.920 --> 00:28:47.079
It's a hard habit to break, but time after time

509
00:28:47.119 --> 00:28:50.039
I'll show you why nineteen eighty four was the best

510
00:28:50.119 --> 00:28:52.799
year ever. So who are you gonna call? Coming in

511
00:28:52.839 --> 00:28:55.519
twenty twenty six? Subscribe and follow now I'll be.

512
00:28:55.559 --> 00:29:04.519
Back and welcome back. So we're now into the spoilery section,

513
00:29:04.599 --> 00:29:07.119
if you will, because we're going to now kind of

514
00:29:07.160 --> 00:29:09.880
move from talking about characters and we're going to start

515
00:29:09.880 --> 00:29:14.000
talking more about the investigation. So the film starts. I

516
00:29:14.000 --> 00:29:16.440
don't know if you noticed this, but the film starts

517
00:29:16.480 --> 00:29:20.359
with this smash cut, which was very effective. So they're

518
00:29:20.480 --> 00:29:23.599
all at like the Thanksgiving table, and so there's Tom

519
00:29:23.640 --> 00:29:27.319
Gruneman said. The camera's kind of panning down the table

520
00:29:27.440 --> 00:29:30.119
and you see Clute, and then next to them you

521
00:29:30.160 --> 00:29:32.960
see Peter Cable, and then it ends up on his

522
00:29:33.079 --> 00:29:36.880
wife and then boom smash cut and it's showing Tom

523
00:29:36.920 --> 00:29:40.359
Gruneman's chair and it's at night and it's empty, and

524
00:29:40.400 --> 00:29:45.079
you know something has happened. Six months go by and

525
00:29:45.160 --> 00:29:48.440
the case is cold and the family and Peter Cable

526
00:29:48.519 --> 00:29:51.680
have now hired Clute to do the investigationist as we

527
00:29:51.720 --> 00:29:55.599
talked about earlier, So let's talk about this investigation so bit.

528
00:29:55.759 --> 00:29:59.000
Before we start on the actual investigation, we also want

529
00:29:59.039 --> 00:30:01.599
to talk a little bit about why you think and

530
00:30:01.640 --> 00:30:04.400
it kind of begs the question a little bit at

531
00:30:04.400 --> 00:30:07.480
the beginning of why he's doing the investigation, which is

532
00:30:07.519 --> 00:30:10.079
one of the interesting parts of this movie. In the beginning,

533
00:30:10.079 --> 00:30:13.079
you think he's doing the investigation because he's the probably

534
00:30:13.079 --> 00:30:16.000
the only policeman they know, right, But it turns out

535
00:30:16.119 --> 00:30:18.200
later in the story that we find out that it's

536
00:30:18.279 --> 00:30:22.119
he's probably doing the investigation because the actual bad guy

537
00:30:22.880 --> 00:30:25.720
wants to have his finger on the pulse of the investigation.

538
00:30:26.279 --> 00:30:29.640
But it's interesting at the beginning. I totally was like, Oh,

539
00:30:29.680 --> 00:30:32.160
he was a policeman. He gives up being a policeman

540
00:30:32.160 --> 00:30:34.680
to be in a private investigator. It's actually not a

541
00:30:34.720 --> 00:30:38.119
trajectory that we don't see often that the policeman, if

542
00:30:38.160 --> 00:30:40.160
they don't get their detective badge or they're in a

543
00:30:40.160 --> 00:30:42.799
small town, they might go to being a PI. And

544
00:30:42.839 --> 00:30:47.799
then he's doing this investigation into Tom Gruneman's disappearance. I

545
00:30:47.839 --> 00:30:52.039
think there's more to him getting hired than just that.

546
00:30:52.039 --> 00:30:54.160
That sort of became clear as we watch the movie.

547
00:30:54.240 --> 00:30:57.799
Here's how I interpreted Plute and Gruneman were friends.

548
00:30:57.920 --> 00:30:59.759
Yes, they had grown up together, right.

549
00:30:59.759 --> 00:31:03.799
Yeah, and Clute left the force and never done a

550
00:31:03.880 --> 00:31:06.880
missing persons before. He has no idea. I think Peter

551
00:31:07.000 --> 00:31:09.839
Cable just can't say don't do that. But you know

552
00:31:09.920 --> 00:31:12.960
he does have some control because you see that throughout

553
00:31:13.039 --> 00:31:17.400
the film. Clute goes back and reports progress to Cable.

554
00:31:17.720 --> 00:31:20.599
So I guess they're all friends, right, they know each

555
00:31:20.680 --> 00:31:24.119
other well. I think Cable was paying the bills obviously. Yeah,

556
00:31:24.160 --> 00:31:27.640
the company that Cable and Gruneman worked for were obviously

557
00:31:27.680 --> 00:31:30.640
paying for it. Because at one point Clut wants to

558
00:31:30.640 --> 00:31:32.839
buy an address book with names and all that, and

559
00:31:32.880 --> 00:31:35.039
he just needs five hundred dollars and so Cable was

560
00:31:35.039 --> 00:31:37.519
supposed to go off get that approved. So yeah, you're right,

561
00:31:37.519 --> 00:31:39.200
he was being financed by there.

562
00:31:39.359 --> 00:31:41.519
Yeah, but that was also part of towards the end

563
00:31:41.559 --> 00:31:44.799
when Clute has some ideas and he's laying a trap

564
00:31:44.960 --> 00:31:47.960
by reporting to Cable, which was very cool, he.

565
00:31:47.960 --> 00:31:49.880
Tells him I know who's done it, because like at

566
00:31:49.880 --> 00:31:52.359
this point he knows it's Cable, right, and he's telling

567
00:31:52.440 --> 00:31:57.839
him like, hey, look, I think that Tom is dead,

568
00:31:57.920 --> 00:32:00.359
but I think I can close this case to night.

569
00:32:00.759 --> 00:32:03.559
I just I think I know the guy that beat

570
00:32:04.160 --> 00:32:08.680
Brion and so that's the guy and it's not not Tom.

571
00:32:08.839 --> 00:32:10.480
And at that point, Cable's like.

572
00:32:11.400 --> 00:32:15.680
Before the film begins, Cable has had a prostitute in

573
00:32:15.799 --> 00:32:19.720
his hotel. He ends up killing her. Tom walks in,

574
00:32:20.200 --> 00:32:24.079
doesn't say anything, but Cable knows at some point he's

575
00:32:24.119 --> 00:32:26.240
going to use it over me, so he's got off

576
00:32:26.559 --> 00:32:30.079
Tom before it actually happens, which I'll say my biggest

577
00:32:30.079 --> 00:32:34.200
complaint about the film was that Pakula didn't do much

578
00:32:34.519 --> 00:32:38.440
in terms of trying to hide who the individual was.

579
00:32:38.880 --> 00:32:41.359
You kind of figure it out right about at the

580
00:32:41.480 --> 00:32:43.519
hour mark. This is a two hour film, so right

581
00:32:43.519 --> 00:32:44.759
about the one hour mark.

582
00:32:44.680 --> 00:32:47.160
Yeah, you start to figure it out. Yeah, I agree.

583
00:32:47.240 --> 00:32:49.400
I think we talked about this before. It would have

584
00:32:49.400 --> 00:32:52.920
been I think the superior film to be left in question,

585
00:32:53.039 --> 00:32:55.880
to have maybe more alternatives. Frank would have been a

586
00:32:55.880 --> 00:32:58.920
good candidate to be the bad guy on this particular case,

587
00:32:59.000 --> 00:33:00.640
right because he's got to in the middle of it

588
00:33:00.880 --> 00:33:03.200
and working that to the end would have been a

589
00:33:03.240 --> 00:33:05.599
lot more exciting. And I would also say that the

590
00:33:05.640 --> 00:33:08.839
final scenes, not the final final scene, but the final

591
00:33:08.880 --> 00:33:13.119
scene of action where Cable is chasing Bri and with

592
00:33:13.200 --> 00:33:17.119
Bri and going to Killbri and Clute is working to

593
00:33:17.119 --> 00:33:19.079
get there, that was sort of a it's a little

594
00:33:19.079 --> 00:33:21.400
bit disjoined in my opinion. It should have been sort

595
00:33:21.400 --> 00:33:23.400
of almost You could have had cut screens, you know,

596
00:33:23.960 --> 00:33:27.640
where Clut was solving problems and running across the streets

597
00:33:27.920 --> 00:33:34.160
and cables in the garment building, chasing Bri or you know,

598
00:33:34.160 --> 00:33:36.279
getting ready to hurt her, and it wasn't. It was

599
00:33:36.319 --> 00:33:38.640
like a conversation going on here where we had no

600
00:33:38.759 --> 00:33:41.000
sense of time on what Clute was doing. You knew

601
00:33:41.039 --> 00:33:43.279
he was working to trying to figure out where Brie was.

602
00:33:43.319 --> 00:33:45.640
He needed to know where she was, and he had

603
00:33:45.640 --> 00:33:47.960
to go through several wickets to do that, but it

604
00:33:48.000 --> 00:33:49.319
wasn't exciting to me.

605
00:33:49.680 --> 00:33:52.240
So here's the funny thing, though, And I kept thinking

606
00:33:52.319 --> 00:33:55.559
about you watching this film, if you noticed. At one point,

607
00:33:55.839 --> 00:33:59.319
Clute says to Bri, Hey, look, I'm really worried about you.

608
00:33:59.400 --> 00:34:01.400
I just need you know wherever you go out. Please

609
00:34:01.480 --> 00:34:03.519
be sure to give me your phone number so I

610
00:34:03.599 --> 00:34:06.279
know where to contact you at. And then later Bree

611
00:34:06.319 --> 00:34:09.559
is at her psychiatrist's office, who is now left for

612
00:34:09.679 --> 00:34:12.559
the day, and so Brie says, I'm going over to Goldfarbes.

613
00:34:12.719 --> 00:34:15.480
Here's his number or something like that. Call me over

614
00:34:15.519 --> 00:34:17.920
there as soon as the doctor gets in, and it's

615
00:34:17.960 --> 00:34:21.760
just like, ah, these nineteen seventies problems where it's like

616
00:34:21.840 --> 00:34:23.400
if you only had a cell phone.

617
00:34:23.480 --> 00:34:27.039
I'm telling you it was exactly like that. To arrange

618
00:34:27.360 --> 00:34:30.239
to meet up on Friday. You know, you were making

619
00:34:30.239 --> 00:34:32.559
plans on Thursday or the last thing you said to

620
00:34:32.599 --> 00:34:36.719
somebody on Thursday at you know, Friday after school was

621
00:34:36.760 --> 00:34:37.880
the was the plan?

622
00:34:38.400 --> 00:34:38.639
Right?

623
00:34:38.880 --> 00:34:41.760
And Bill, you actually laid eyes on each other or

624
00:34:42.199 --> 00:34:46.119
called your their mom's phone from your mom's phone. So

625
00:34:46.559 --> 00:34:48.639
we were very lucky as growing up, we had a

626
00:34:48.719 --> 00:34:51.280
kid's only line. My mom and dad bought another phone

627
00:34:51.320 --> 00:34:53.599
line because they were sick of answering the phone for

628
00:34:53.679 --> 00:34:56.039
all our friends because we had I had five brothers

629
00:34:56.119 --> 00:34:59.079
and sisters right so and four sisters, so there's the

630
00:34:59.159 --> 00:35:01.679
phone was on all the time. So mom and dad

631
00:35:01.679 --> 00:35:04.880
bought another phone line and we would use that. That

632
00:35:04.960 --> 00:35:08.280
was kind of the kids line, and it was nice,

633
00:35:08.320 --> 00:35:10.559
but that was how you kept in touch with and

634
00:35:10.719 --> 00:35:13.360
nobody even I mean, honestly, I remember when some people

635
00:35:13.400 --> 00:35:16.679
started to get beepers because that was the only technology

636
00:35:16.719 --> 00:35:18.639
to get to try to and you'd get a beep

637
00:35:18.800 --> 00:35:20.840
in school and you go to the payphone at school

638
00:35:20.920 --> 00:35:23.880
and call another payphone at school. And it wasn't for

639
00:35:23.960 --> 00:35:27.159
drug deals. It was actually for communications. Well, there used

640
00:35:27.199 --> 00:35:30.639
to be a thing. It's called an answering service. Oh yeah,

641
00:35:30.800 --> 00:35:33.000
you had a number and you would call that answering

642
00:35:33.039 --> 00:35:36.440
service and you'd say, hey, I'm Att sergeant. If anybody

643
00:35:36.480 --> 00:35:39.079
calls for me, tell them I'm at such and such,

644
00:35:39.320 --> 00:35:41.719
And everybody had your answering service number and you would

645
00:35:41.760 --> 00:35:44.639
call that answering service. Now this was for rich people, certainly.

646
00:35:44.639 --> 00:35:46.679
Something in New York. You know, the club owner would

647
00:35:46.679 --> 00:35:48.519
own or something like that. But it was a thing

648
00:35:48.599 --> 00:35:51.480
that you would call and leave a message with some company,

649
00:35:51.880 --> 00:35:53.719
and then when people called in, they'd go, oh, I

650
00:35:53.719 --> 00:35:55.239
have a message for you, mister sergeant.

651
00:35:55.440 --> 00:35:57.840
In the investigation, there was one other thing that I

652
00:35:57.840 --> 00:35:58.639
thought was stupid.

653
00:35:58.840 --> 00:35:59.480
Yeah, what's that?

654
00:35:59.559 --> 00:36:03.599
Okay. Clute is talking to Trask, the agent, and he says, hey,

655
00:36:03.760 --> 00:36:07.039
let's let's investigate all of his close friends. And then

656
00:36:07.400 --> 00:36:10.199
the thing that was linking Tom to Bree were all

657
00:36:10.239 --> 00:36:13.079
these you know, spicy letters that he was sending to

658
00:36:13.119 --> 00:36:16.559
her that he was typing out. And then Trass comes

659
00:36:16.559 --> 00:36:19.199
back and he says, hey, look, I've compared all of

660
00:36:19.239 --> 00:36:22.760
these typed letters. So here's here's the letter that was

661
00:36:22.840 --> 00:36:26.000
sent to Brie, and then here's a letter that Bruneman

662
00:36:26.079 --> 00:36:28.119
sent to his wife. You can tell that there are

663
00:36:28.280 --> 00:36:31.480
different styles. Oh, and here's another one. It includes like, oh,

664
00:36:31.599 --> 00:36:34.880
that's that's mine. Well he said, inspect everybody. And then

665
00:36:34.960 --> 00:36:38.000
last he pulls up one and that The main characteristic

666
00:36:38.119 --> 00:36:41.039
is that the person typing he switches the T and

667
00:36:41.119 --> 00:36:43.760
the H and the word the They zoom in on

668
00:36:43.800 --> 00:36:47.360
it and they're like, this is Peter Cable's xample. It

669
00:36:47.400 --> 00:36:49.519
seems like that that would have been the first thing

670
00:36:49.639 --> 00:36:53.519
that Trask would have done six months ago to figure

671
00:36:53.559 --> 00:36:56.119
out this mystery, and we wouldn't have a movie.

672
00:36:56.199 --> 00:36:58.239
I thought it was actually funny for me because I

673
00:36:58.320 --> 00:37:01.320
typed hte all the time. But now you don't see

674
00:37:01.320 --> 00:37:04.119
it because the computer just corrects and go you meant the.

675
00:37:04.519 --> 00:37:06.920
I don't know if you remember that movie The Incredibles

676
00:37:06.920 --> 00:37:10.599
where the villain talks about monologuing. So Peter Cable has

677
00:37:10.440 --> 00:37:14.199
this massive monologue that he's doing at the end, he

678
00:37:14.199 --> 00:37:16.880
gets off on it and then he's he's playing a

679
00:37:17.039 --> 00:37:19.800
tape where he has killed one of the characters from

680
00:37:19.840 --> 00:37:22.280
earlier in the film, and Brie is listening to it.

681
00:37:22.519 --> 00:37:25.280
She is just shutting down and she knows that she's

682
00:37:25.639 --> 00:37:28.360
about to be killed, probably much like her friend. And

683
00:37:28.400 --> 00:37:31.599
this is where Clute comes in. And Peter looks up,

684
00:37:31.760 --> 00:37:35.079
sees Clute and then he backs out of the window. Yeah,

685
00:37:35.119 --> 00:37:37.760
that was weird, and that's that's the end. So the

686
00:37:37.880 --> 00:37:42.360
point of the movie Clute is obviously not the investigation.

687
00:37:42.639 --> 00:37:47.519
It's really more of Clute being injected into Breeze life

688
00:37:47.840 --> 00:37:50.840
and how that totally changed.

689
00:37:51.199 --> 00:37:53.360
So you think it was metaphorical that he backed out

690
00:37:53.360 --> 00:37:56.599
the window, that it was like good triumphed over evil,

691
00:37:56.880 --> 00:37:59.760
or was it this he actually got thrown out the

692
00:37:59.760 --> 00:38:02.039
wind but they didn't show it because they didn't want

693
00:38:02.039 --> 00:38:04.119
to show Clute being a brute, or maybe.

694
00:38:03.960 --> 00:38:06.079
Where that happen was so bad that this is the

695
00:38:06.079 --> 00:38:06.800
only thing that they had.

696
00:38:06.920 --> 00:38:08.920
Yeah, it could be. We never know what it probably

697
00:38:08.920 --> 00:38:12.280
have to get. The cinematographer's take on is like, well

698
00:38:12.280 --> 00:38:14.719
it worked out better without us showing Clute trying to

699
00:38:14.719 --> 00:38:18.000
push this very large dude through the window. But yeah, no,

700
00:38:18.159 --> 00:38:20.480
I agree with that and the other thing, you know,

701
00:38:20.519 --> 00:38:23.519
I'll probably take exception to and people maybe maybe the

702
00:38:23.559 --> 00:38:26.039
listeners will be have a problem with this. But the

703
00:38:26.119 --> 00:38:30.159
whole ending where Bree's talking about how much she doesn't

704
00:38:30.280 --> 00:38:33.480
think she could live with someone who's a good person.

705
00:38:33.840 --> 00:38:36.159
This is part of her recordings is that she doesn't.

706
00:38:36.599 --> 00:38:39.559
She's talking about how she feels about this clute guy

707
00:38:39.719 --> 00:38:41.760
and how she has feelings for him that she's never

708
00:38:41.800 --> 00:38:44.559
had before, and how she thinks that's never going to

709
00:38:44.599 --> 00:38:49.480
work for her because she's just her penchant is to

710
00:38:49.679 --> 00:38:53.519
just blow that up, to destroy that relationship, and you know,

711
00:38:53.639 --> 00:38:56.880
not have to get back to her security of being numb,

712
00:38:56.960 --> 00:38:59.400
and we see at the end that she's packing up

713
00:38:59.400 --> 00:39:03.239
her apartment, leaving, presumably with Clute. He's the one that

714
00:39:03.320 --> 00:39:05.519
carries the bag for her and stuff. So it's a

715
00:39:05.559 --> 00:39:09.880
little bit of a storybook ending for kind of a

716
00:39:09.960 --> 00:39:11.000
mess up person.

717
00:39:11.519 --> 00:39:16.400
The whole story of Brie is that the entire time,

718
00:39:16.760 --> 00:39:19.639
we see what she's doing and we see what her

719
00:39:19.760 --> 00:39:23.800
actions are, but in the psychiatrist's office we get all

720
00:39:23.840 --> 00:39:26.679
of her inner monologues, her thoughts. So, in other words,

721
00:39:26.880 --> 00:39:30.480
she hates being a prostitute, she hates doing the tricks.

722
00:39:30.480 --> 00:39:32.880
She would much rather be an actress, but she's not

723
00:39:32.920 --> 00:39:35.719
as good as an actress, but she's an amazing actress

724
00:39:35.760 --> 00:39:37.119
when she's a prostitute.

725
00:39:37.199 --> 00:39:37.800
So there's this.

726
00:39:37.719 --> 00:39:42.000
Whole you know, what she wants to do doesn't match

727
00:39:42.079 --> 00:39:45.440
with the actions that we see until the very end.

728
00:39:45.800 --> 00:39:50.840
Right then, what she's saying to the psychiatrist she's not

729
00:39:51.039 --> 00:39:53.079
sure how this is all going to work out, and

730
00:39:53.119 --> 00:39:56.119
that she might even be back by next Monday. And

731
00:39:56.159 --> 00:39:59.960
then again there's a smash cut and the apartment is

732
00:40:00.119 --> 00:40:04.000
completely empty. The phone rings one last time, because that's

733
00:40:04.199 --> 00:40:06.960
the motif of the phone. John's are calling her house

734
00:40:07.000 --> 00:40:09.480
and she says, no, I'm not going to be here,

735
00:40:09.519 --> 00:40:12.639
I'm kind of leaving New York, and then Flute picks

736
00:40:12.719 --> 00:40:15.320
up the cat walk out the door. Yeah, is it

737
00:40:15.360 --> 00:40:18.800
a storybook ending? It was a little bit, yeah, But

738
00:40:18.880 --> 00:40:22.760
I think it was maybe the beginning of will she

739
00:40:22.960 --> 00:40:25.280
stay in Tuscarora or will she be back?

740
00:40:25.559 --> 00:40:25.760
You know?

741
00:40:25.880 --> 00:40:27.719
I mean I don't. We can all hope she will,

742
00:40:27.800 --> 00:40:31.280
and certainly she seemed directed enough. It would be hard

743
00:40:31.320 --> 00:40:33.519
to get away from her past, but one would hope

744
00:40:33.519 --> 00:40:34.320
that she could do it.

745
00:40:34.480 --> 00:40:36.000
Well, we'll have to wait for Clute too.

746
00:40:36.360 --> 00:40:39.760
I thought the ending was interesting. I really liked the

747
00:40:40.079 --> 00:40:45.039
overlaying of the psychologists, which I typically don't like, but

748
00:40:45.199 --> 00:40:48.320
in this case it was handled really, really well because

749
00:40:48.320 --> 00:40:53.039
they did small vignettes that were salient to the story.

750
00:40:53.400 --> 00:40:57.000
The scenes with the psychiatrist were all filmed last year,

751
00:40:57.000 --> 00:40:59.840
and what Pakula did in order to get this out

752
00:40:59.880 --> 00:41:03.280
of her was she and the actress playing the psychiatrist.

753
00:41:03.360 --> 00:41:06.119
They were just ad libbing a lot until they got

754
00:41:06.159 --> 00:41:09.639
the real raw emotion of what she was going for.

755
00:41:09.880 --> 00:41:11.280
What was that called method acting?

756
00:41:11.400 --> 00:41:14.079
Oh, she was very much method acting because because since

757
00:41:14.119 --> 00:41:17.079
the apartment was kind of a character in and of itself.

758
00:41:17.199 --> 00:41:20.079
She actually wanted to live in that apartment for three

759
00:41:20.159 --> 00:41:22.760
days prior to anyone coming in, and so she was

760
00:41:22.800 --> 00:41:24.000
the one who kind of set it up.

761
00:41:24.039 --> 00:41:25.880
And yeah, I think that works. I think that works.

762
00:41:25.920 --> 00:41:28.639
It was a cool little apartment. Actually, yeah, I thought.

763
00:41:28.719 --> 00:41:30.400
I mean when they when they when she was, when

764
00:41:30.440 --> 00:41:33.079
she was in it, it looked really kind of like eh.

765
00:41:33.440 --> 00:41:35.079
But when they moved out, I was like, Wow, this

766
00:41:35.159 --> 00:41:37.960
is a really nice New York City. But it'd probably

767
00:41:38.000 --> 00:41:40.960
go for you know, five thousand a month nowadays.

768
00:41:41.280 --> 00:41:43.840
I think I think the little hovel that Clute was

769
00:41:43.880 --> 00:41:47.239
living in down below the bottom of the Brownstone, that

770
00:41:47.280 --> 00:41:53.000
would go for crazy Matt. The time has come. Did

771
00:41:53.079 --> 00:41:55.320
Clute grew for you? Or did it lose its beat?

772
00:41:56.079 --> 00:41:59.159
You know? It's funny since I now discover I had

773
00:41:59.239 --> 00:42:02.360
not seen it. It's hard for me because on most

774
00:42:02.360 --> 00:42:05.119
of the movies we reviewed, I saw them or saw

775
00:42:05.199 --> 00:42:07.519
them at least early in my life. I'm pretty sure

776
00:42:07.559 --> 00:42:10.079
I never have seen this, or at least haven't seen

777
00:42:10.199 --> 00:42:13.440
it in it nearly its entirety. But I will say

778
00:42:13.480 --> 00:42:17.320
that I did enjoy this movie. I enjoyed it quite

779
00:42:17.320 --> 00:42:21.079
a bit. I thought was very interesting I thought the

780
00:42:21.159 --> 00:42:26.840
young Jane Fonda absolutely stunningly beautiful and well acted. I

781
00:42:26.880 --> 00:42:29.760
think we can argue whether it was really an Oscar

782
00:42:29.880 --> 00:42:34.039
worthy performance, but it certainly was in the conversation of

783
00:42:34.119 --> 00:42:38.400
Oscar right. But it was also a groundbreaking role. So

784
00:42:38.559 --> 00:42:41.840
the combination of the role and Jane Fonda's ability to

785
00:42:41.920 --> 00:42:46.559
play it so incredibly well really is something to see.

786
00:42:46.639 --> 00:42:49.440
It's also interesting to see Jane Fonda, who's, you know,

787
00:42:49.519 --> 00:42:53.719
now one of our elder statesmen of acting, been in

788
00:42:53.800 --> 00:42:58.159
some crazy shows, some wonderful shows like on Golden Pond,

789
00:42:58.320 --> 00:43:00.400
and you know, a bunch of other things, and even

790
00:43:00.480 --> 00:43:06.159
recently some really funny, funny situation shows. It's amazing to

791
00:43:06.199 --> 00:43:09.280
see her in this because this is really I would

792
00:43:09.400 --> 00:43:11.760
argue this is her first dramatic role, and she does

793
00:43:11.800 --> 00:43:14.719
a great job on it. I always love Donald Sutherland.

794
00:43:14.800 --> 00:43:18.639
I think he plays an understated role in this amazingly well.

795
00:43:18.719 --> 00:43:21.039
He's sort of doing what he has to do to

796
00:43:21.119 --> 00:43:23.719
try to solve this problem, but not really liking it,

797
00:43:24.400 --> 00:43:28.199
which is refreshing. He's not getting off on listening to

798
00:43:28.360 --> 00:43:32.840
the things. He's very non judgmental about her sex work

799
00:43:32.880 --> 00:43:35.880
and stuff like that. So I think it grooves, and

800
00:43:35.920 --> 00:43:38.800
I think it's well worth the watch. I would definitely

801
00:43:38.840 --> 00:43:41.400
recommend to people get a hold of this thing and

802
00:43:41.559 --> 00:43:45.079
give yourself a good two hours and you'll enjoy it.

803
00:43:45.960 --> 00:43:47.719
For me, the real two stars of this film are

804
00:43:47.800 --> 00:43:50.920
Jane fun and Gordon Willis. On this therapy scenes let

805
00:43:51.000 --> 00:43:54.119
us hear breeze thoughts with the movie without actually spelling

806
00:43:54.159 --> 00:43:56.519
everything out for us, and will Is, this camera work,

807
00:43:56.519 --> 00:43:59.599
in lighting work, make you feel her tension and her fear.

808
00:44:00.079 --> 00:44:02.519
Together they give you everything that you're gonna need without

809
00:44:02.480 --> 00:44:05.119
a whole lot of extra talk. So Brie is a

810
00:44:05.199 --> 00:44:08.639
deeply layered character, and this film sets the tone for

811
00:44:08.679 --> 00:44:11.039
what Pakula is going to be doing next. I am

812
00:44:11.079 --> 00:44:14.599
excited to see the Parallax view and all the President's men.

813
00:44:14.719 --> 00:44:17.440
For me, Flute is pretty groovy.

814
00:44:17.679 --> 00:44:19.320
A one hundred percent agree with that, and I'm also

815
00:44:19.400 --> 00:44:21.400
one hundred percent agree with I'm looking forward to the

816
00:44:21.400 --> 00:44:24.079
Parallax view and all the presidents. Ben, do you know

817
00:44:24.119 --> 00:44:26.480
who is in the Parallax View? Is it somebody that

818
00:44:26.559 --> 00:44:27.199
I should know?

819
00:44:27.440 --> 00:44:32.000
Think mckab and Missus Miller the Star and not Julie Christy,

820
00:44:32.119 --> 00:44:35.159
Warren Batty, Warren Vadi. Yep, Yeah, one last thing I

821
00:44:35.199 --> 00:44:38.559
wanted to say about Jane Fonda was I have to admit,

822
00:44:38.679 --> 00:44:43.039
before this film, I knew her for Barbarella. I knew

823
00:44:43.039 --> 00:44:46.239
her as the lady who had all the exercise tapes

824
00:44:46.239 --> 00:44:48.599
in the eighties that seemed to always be on for

825
00:44:48.679 --> 00:44:52.360
sale in between commercials of Star Trek. And then finally

826
00:44:52.679 --> 00:44:55.679
I know her for a film that I just I've

827
00:44:55.800 --> 00:44:59.280
never liked. I've never liked On Golden Pond, but there's

828
00:44:59.280 --> 00:45:02.480
a reason for that. On Golden Pond was playing at

829
00:45:02.480 --> 00:45:04.159
the same time as one of the Friday to the

830
00:45:04.199 --> 00:45:08.039
Thirteenth movies, and I tried sneaking into Friday to thirteenth,

831
00:45:08.199 --> 00:45:10.960
and I was caught, and I was escorted to the

832
00:45:10.960 --> 00:45:13.119
theater that I had the ticket for, which was on

833
00:45:13.199 --> 00:45:16.599
Golden Pond, and there was no getting out of it.

834
00:45:16.519 --> 00:45:20.480
It's so embarrassing for you. Yeah, how old were you?

835
00:45:20.599 --> 00:45:24.599
Let me ask you that I can't well, I'll tell you,

836
00:45:24.679 --> 00:45:27.519
I wasn't. What what's the age for R rated movies?

837
00:45:27.559 --> 00:45:30.480
Eight seventeen? So seventeen eighteen, so I was I was

838
00:45:30.519 --> 00:45:31.079
younger than that.

839
00:45:31.079 --> 00:45:33.639
It was NC seventeen and there's R so I guess

840
00:45:33.719 --> 00:45:37.239
maybe it's fifteen. I don't know. That wraps up our

841
00:45:37.239 --> 00:45:39.400
show for today. If you have a question or comment

842
00:45:39.440 --> 00:45:42.000
about our show, we'd love to hear it. Send us

843
00:45:42.000 --> 00:45:47.440
an email through our website www dot cinematic flashback dot com.

844
00:45:47.480 --> 00:45:51.480
Thanks for listening to the Cinematic Flashback and join us

845
00:45:51.559 --> 00:45:55.639
next time when we dive into another seventies classic. We'll

846
00:45:55.679 --> 00:45:56.320
see you then.

847
00:45:56.800 --> 00:46:00.519
Oo line up in the plot break down, and then

848
00:46:00.519 --> 00:46:03.840
it's how to do in every city in town and

849
00:46:03.920 --> 00:46:07.440
we'll see the groove through the decade or did it

850
00:46:07.559 --> 00:46:14.000
skip a bee? Come on and flashback to the golden

851
00:46:14.239 --> 00:46:18.400
stage where the stories were while breaking out of the cage.

852
00:46:18.480 --> 00:46:21.880
From the eyes to the lot, every leapt fastcar.

853
00:46:22.400 --> 00:46:24.559
It's the Cinematic Flashback.

854
00:46:24.679 --> 00:46:29.320
Then it will take you