Tag Archives: Jane Fonda

1971 Films, Alan J. Pakula, Donald Sutherland, Jane Fonda, Roy Scheider, Thriller

Klute-1971

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Klute-1971

Director Alan J. Pakula

Starring Jane Fonda, Donald Sutherland

Scott’s Review #1,351

Reviewed March 12, 2023

Grade: A-

I’ll gladly watch any film Jane Fonda appears in especially early treats like They Shoot Horses, Don’t They (1969), Coming Home (1978), and On Golden Pond (1981), but Klute (1971) trumps them all.

Fonda plays a prostitute, one with intelligence, manipulation skills, and deep introspective thought. Teamed with Donald Sutherland who has quiet cool, the duo sink their teeth into a taut psychological thriller chasing a serial killer.

The inventive part is that the film is hardly a whodunit but uses long sequences of calm dialogue and little editing breaks making it stand out with great style and substance.

Bree Daniel (Fonda), is a New York City call girl who becomes absorbed in an investigation into the disappearance of a business executive. Detective John Klute (Sutherland) is hired to follow Bree and eventually begins a romance with her.

Klute is not the only one on Bree’s trail. A killer is on the loose having killed two prostitutes that Bree is friendly with. They must figure out the deadly puzzle before it’s too late.

Fonda plays Bree wonderfully. Gorgeous and well-dressed, Bree is aching to leave the business and launch an acting or modeling career but she continues to strike out on both fronts. Fonda assures the audience that Bree is smart and uses her smarts to get the best of the men she beds.

During several scenes where she chats with her shrink, we learn a great deal about Bree and the workings of her mind. While she cringes at a dull life of being married and darning socks, she also craves stability and self-worth.

She aptly embraces her lifestyle but on her terms. When briefly jaded by a pimp played by Roy Scheider, I cringed because Bree is better than that.

I only wanted to learn a bit more about Bree’s childhood and how she wound up as a call girl but at the same time, the mystique works well. The ambiguity only makes Bree more complex.

Pre-conceived notions or sub-par writing might have had the character dubbed the overdone ‘hooker with the heart of gold’ title but there are no cliches to be found.

Written by the team of Andy and Dave Lewis, and directed by Alan J. Pakula, they construct a complex film with equal focus on the intriguing serial killer pursuit and the workings of its lead female character.

Surprisingly, the men achieve both goals. In later years the screenplay might have been written by a female but it’s impressive how boldly they write Bree.

The character of Klute is also well-written. Similarly shrouded in mystery, we know that the investigator is the strong silent type and falls for Bree hook, line, and sinker. Has he been married? Does he have kids? Why the fascination with Bree?

He only mirrors the audience as we become equally smitten with her. The fact that he knows the killer is icing on the cake and adds rich texture to the storytelling.

The other facets of Klute are strong from a technical and location perspective.

The interior sequences, mostly of Bree’s apartment building, are superior, with dull lighting and an eerie musical score to set the proper mood. Downsizing from Park Avenue, Bree has a decent Manhattan apartment but with dated appliances and unflattering lighting.

The exterior New York City location shots are fun to look at and for a native tri-state area resident to identify various neighborhoods.

Early 1970s New York City was not a pretty site and the Wall Street area and garment district where the riveting action culminates are terrific.

Delightful is the scene involving Jean Stapleton as a no-nonsense secretary. Forever remembered as Edith Bunker on the television series All in the Family, it’s great fun seeing her in Klute and remembering she appeared in films before her television success.

Klute (1971) is a taut, superior thriller that sometimes is a bit too complex but that scores a winning run with its marriage of a character study and intelligent writing.

Thanks to Fonda and Sutherland, and a screenplay that bravely goes left of center when it easily could have gone straightforward, Klute is a memorable piece of cinema.

Oscar Nominations: 1 win-Best Actress-Jane Fonda (won), Best Original Screenplay

1981 Films, Dabney Coleman, Drama, Henry Fonda, Jane Fonda, Katharine Hepburn

On Golden Pond-1981

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On Golden Pond-1981

Director Mark Rydell

Starring Henry Fonda, Katharine Hepburn, Jane Fonda

Scott’s Review #1,297

Reviewed September 8, 2022

Grade: A

A beautiful and quiet family drama, On Golden Pond (1981) is a brilliantly acted and written story about life specifically aging and dying. It tells one lovely story arc after another, involving the relationships between its principal characters.

With heavyweights like Katharine Hepburn, Henry Fonda, and Jane Fonda signed on to star how could the film not be a success? It was not only a blockbuster in the summer of 1981 but accumulated ten Academy Award nominations and tons of other awards showing that sometimes subdued stories about human relationships win big.

The anticipation of legendary stars Fonda and Hepburn, golden icons of Hollywood, finally appearing opposite each other in a film must have made film lovers salivate back in 1981.

Norman Thayer (Fonda) is a grumpy old man trying to enjoy his golden years. He and his nurturing wife, Ethel (Hepburn), spend summers at their New England vacation home on the shores of idyllic Golden Pond.

Norman is experiencing memory problems and frets about dying while Ethel makes the most of it and enjoys the beautiful loons on the water and chats with the local mailman.

One year, their adult daughter, Chelsea (Jane Fonda), visits with her new fiancée (Dabney Coleman) and his teenage son, Billy (Doug McKeon) on their way to Europe. After leaving Billy behind to bond with Norman, Chelsea returns, attempting to repair the long-strained relationship with her aging father before it’s too late.

The greatest part of On Golden Pond is that it is believable. The tender love that Norman and Ethel share, the tensions between Norman and Chelsea, and the burgeoning friendship between Norman and Billy Jr. feel so very real and poignant.

Beautiful scenes emerge between the old man and a young man when Norman turns Billy Jr. on to literary classics like A Tale of Two Cities and Treasure Island. The viewers can easily see themselves in real-life situations like this or when Ethel and Chelsea discuss a strained relationship.

Years and years of memories and situations between the characters spring to life making the dialogue rich with flavor. Moving sequences like when Norman suffers a heart attack and is involved in a boating accident are teary and sentimental but fresh with emotion.

They do not feel manipulated.

As if the richly acted scenes are not enough, screenwriter, Ernest Thompson, who wrote the film based on his play provides credibility. He felt the passion the story would bring to the big screen and he was right.

As I grow older I appreciate the characters of Norman and Ethel. They stick together through thick and thin, sometimes quarrel, but love each other with a bond that can never be severed.

We all know and love couples like them.

The cinematography bristles with sweet nature. From the loons to the other sounds of summer, the camerawork elicits the light of late summertime. I constantly had to remind myself that I wasn’t really in the countryside but was in my living room.

A tearjerker that carefully combines heavy drama with comical moments that lighten the load, On Golden Pond (1981) is a truthful and emotional extravaganza about death that never feels sad or downtrodden. It’s much too clever for that and instead is an uproarious crowd-pleaser.

Oscar Nominations: 3 wins-Best Picture, Best Director-Mark Rydell, Best Actor-Henry Fonda (won), Best Actress-Katharine Hepburn (won), Best Supporting Actress-Jane Fonda, Best Screenplay-Based on Material from Another Medium (won), Best Cinematography, Best Film Editing, Best Original Score, Best Sound

1977 Films, Drama, Fred Zinnemann, Jane Fonda, Jason Robards, Vanessa Redgrave

Julia-1977

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Julia-1977

Director Fred Zinnemann

Starring Jane Fonda, Vanessa Redgrave, Jason Robards

Scott’s Review #1,283

Reviewed July 31, 2022

Grade: A

Jane Fonda leads the charge in a powerful, and gorgeously shot, drama named Julia (1977) centering around pre-World War II and the impending Holocaust.

The drama is based on the writing of Lillian Hellman, a famous playwright, which depicts the relationship between two close friends and its unexpected consequences when one desperately needs help from the other.

When Lillian (Fonda), a renowned playwright, reunites in Russia with her childhood friend Julia (Vanessa Redgrave), the writer is asked to smuggle funds into Germany to aid the anti-Nazi movement. In the mix is Lillian’s mentor, Dashiell Hammett (Jason Robards), who is unaware of her dangerous assignment.

I immediately relish the film mainly because the message is extremely female-empowering and a dynamic friendship between two women is examined. This does not happen enough, successfully, in films even to this day.

Given the World War II theme, one would naturally assume the film would center around men, not women, and plenty of female spies and the like, are featured.

Added to the mix is the astounding cinematography of Germany, Poland, and Russia. In truth, the film was shot in England and France for security and restrictive reasons but it could have fooled me since the countries look authentic and believable.

Julie looks polished and that’s hardly a gripe. The production design and costumes are perfectly shot and colored to perfection. It’s not a dowdy or drab film and it depicts little amount of violence or torture choosing to focus on relationships and intrigue.

The suspenseful train sequence is brilliant in every way, sprinkling in Hitchcokian bits along with enough nail-biting to make the long scene a key takeaway. Lillian must keep secret her intentions as she traverses toward Russia and each train scene whether it’s the peril of being checked while crossing the border, or eating in the dining car, is captured with perfection.

A slight suspension of disbelief is the casting of the beautiful Fonda as the plain-looking playwright Lillian Hellman. In some scenes, she is made up to look haggard, tired, and homely but the trick never works for a minute.

It’s even giggle-worthy and recommended to sit back and watch Fonda give a splendid performance forgetting altogether that she is portraying the writer.

In other movies, it might have only been about Fonda from an acting perspective but in Julia, the spoils go round and round. At the very least Redgrave, Robards, and Maximilian Schell, who plays a pivotal character named Johann, must be mentioned. Each brings professionalism and believability to their characters.

But quieter parts by a woman passenger and a girl passenger are my favorites. They go from cheery to serious, speaking in a sort of code, not stating they are helping Lillian, but obviously, they are using facial expressions to reveal true alliances.

A delightful point to make is that Julia is Meryl Streep’s first film role, albeit in a tiny part.

Speaking of Redgrave, when she won the Best Supporting Actress Academy Award she made an infamous speech that marks a great controversy.

In her acceptance speech, she thanked Hollywood for having “refused to be intimidated by the threats of a small bunch of Zionist hoodlums whose behavior is an insult to the stature of Jews all over the world and to their great and heroic record of struggle against fascism and oppression”.

This was preceded by members of the Jewish Defense League picketing the ceremony and followed by some boos and retorts to her comments.

But back to the film, Julia does not end in a happily ever after way. A major character is killed and a baby is lost forever. But, that’s part of the truth about creating a film that harkens back to a day when non-conformity led to death.

Julia (1977) is a vital film that still holds up tremendously well and in a world still filled with chaos and oppression, it’s a great reminder of the power of cinema.

Oscar Nominations: 3 wins-Best Picture, Best Director-Fred Zinnemann, Best Actress-Jane Fonda, Best Supporting Actor-Jason Robards (won), Maximilian Schell, Best Supporting Actress-Vanessa Redgrave (won), Best Screenplay-Based on Material from Another Medium (won), Best Cinematography, Best Costume Design, Best Film Editing, Best Original Score

1969 Films, Drama, Gig Young, Jane Fonda, Susannah York, Sydney Pollack

They Shoot Horses, Don’t They?-1969

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They Shoot Horses, Don’t They? -1969

Director Sydney Pollack

Starring Jane Fonda

Scott’s Review #474

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Reviewed September 6, 2016

Grade: A-

They Shoot Horses, Don’t They? (1969) is a tragic, riveting film, set in the Depression-era 1930s centering on a group of contestants entering a Dance-athon for an enormous cash prize.

Most of the film is set in and around the dance floor itself.

Contestants bring themselves to the brink of exhaustion to win the coveted money and the desperation of the characters is horrific.

Jane Fonda leads the pack as a depressed, sarcastic, aspiring actress, who desperately needs the cash prize.

The dark nature of the film is mesmerizing, though it is a difficult film to watch. I found the periodic parts of the film that seemed to drag, effective, as the contestants grew wearier as each hour dragged on.

It also felt like a precursor to the reality television craze that has swept the nation since the 1990s.

A tragedy, yes, but an effective and worthwhile film about depression and the struggle to survive. And a sad reminder of brutality as a form of entertainment.

Oscar Nominations: 1 win-Best Director-Sydney Pollack, Best Actress-Jane Fonda, Best Supporting Actor-Gig Young (won), Best Supporting Actress-Susannah York, Best Screenplay Based on Material from Another Medium, Best Score of a Musical Picture-Original or Adaptation, Best Costume Design, Best Art Direction, Best Film Editing

2013 Films, Alan Rickman, Biography, Colman Domingo, Cuba Gooding Jr., David Oyelowo, Drama, Forest Whitaker, Historical Drama, James Marsden, Jane Fonda, John Cusack, Lee Daniels, Lenny Kravitz, Liev Schreiber, Mariah Carey, Minka Kelly, Oprah Winfrey, Robin Williams, Terrence Howard, Vanessa Redgrave

Lee Daniels’ The Butler-2013

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Lee Daniels’ The Butler-2013

Director Lee Daniels

Starring Forest Whitaker, Oprah Winfrey

Scott’s Review #81

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Reviewed June 30, 2014

Grade: A

Director, Lee Daniels, is a recent favorite of mine (Precious-2009, The Paperboy-2012) and his latest The Butler (2013) is an excellent, true story, undertaking.

While the trailer looked appealing, I was concerned that the film might be overwrought or have a Hollywood sappiness.

While it’s a Hollywood film, it is also a powerful, emotional experience.

The viewer is taken on a journey from 1926 through the current president from the viewpoint of White House butler Cecil Gaines (Whitaker), who serves several presidents and is privy to the goings-on in the White House.

He is played by Forest Whitaker and his boozy, troubled wife is played by Oprah Winfrey.

Both give tremendous performances.

The Butler is a political journey through time and I love the authenticity of each decade from the sets to the costumes to the hairstyles.

The casting of the Presidents is curious (Robin Williams as Eisenhower and John Cusack as Nixon), but works nonetheless.

The rivalry between Cecil Gaines and his rebellious son is quite interesting as the viewer sides with each individual at different times.

The film is more emotional than I anticipated and much of the audience was teary during scenes of heartbreak and triumph.

I feel The Butler (2013) is a must-see for everyone.