1. The thru-line objects are the tapes/tape recorder (reminded me a little of ‘Session 9’) and the phone calls.
2. The therapy sessions are the Big Voice device.
3. The scene where Klute beats up the pimp is an example that comes to mind. “We all respect each other here”. 10 seconds later and there’s fist flying and scissors being branded as a weapon.
4. The tape recordings of Bree.
5. The part where she tells Klute that the old man has lost his wife, has been working since he was 14, and that she’s all he has. Doing something frowned upon for a noble reason.
6. Fear of opening up, control, guilt.
7. The cat runs away? Is adopted by the junkies on the upper floor, maybe?
Video tapes: The video tapes continually explored different aspects of Bree’s mindset. The video tapes were constantly being used as a form of manipulation to propel the story and characters forward. The video tapes were continually used as a tool to pull emotion and action from the characters.
Telephone rings: The phone rings were never good. They were always a foreshadowing and a device used to build up dread in the audience. Telephones blow.
What is the Big Voice device that allows the characters to externalize their feelings without speaking directly to the audience?
The video tapes and the telephone rings. The video tapes continually expressed Bree’s emotion. Poor Bree screaming in the last scene. The video tapes also expressed Bree’s exploration of a care-free spirit when she continually says to “Let it all hang out.” The video tapes explored Bree’s mindset whether it was terror or trying to understand herself.
The voice recordings and telephone rings were used as a constant form of manipulation. Klute attempted to manipulate Bree into talking with recordings. The killer used both the phone and the voice recordings to manipulate and terrify Bree into submission.
The dialog between her counselor and herself was also a device used to provide the audience with an understanding of exactly where her mindset was at any point in time. Pretty cut and dry.
What scenes use gesture and action to negate what’s said in dialog?
When Bree threatens her therapist by saying she’s going to leave because of money but she never does. She continually expresses discontent for not having her own self. She expresses that she was to destroy and run away and be alone but she’s constantly running back to to someone. Her pimp, Klute, a John,…some rando. She would often state that she wanted to be faceless and alone but she would almost do anything but be alone.
What devices keep the past present in the story?
Video tapes: The video tapes continually explored different aspects of Bree’s mindset and situation. The video tapes were constantly being used as a form of manipulation to propel the story and characters forward. Throughout the story we are reminded of the night that Bree was attacked but never knew the details. The final tape of Bree screaming is terrifying and pulls the actions from the past right in front of us. Horrifying. Also when Bree’s phone rings after walking into her destroyed apartment. She hears her voice recording and becomes terrified all over again.
What actions make us like Bree? She’s not very likable but I suppose she is strong enough to explore different aspects of herself without being shameful. I don’t like the fact that the story continually revisits the idea that she doesn’t know who she is. As if the story is saying: “Obviously only lost, crazy, women explore those aspects of themselves. Look at all the trouble she’s in.” My favorite: She loved the tailor. She knew he was a good, hard working man and he just loved/missed his dear wife and just wanted a little companionship with a little ass and titty. He’s a designer! Have some respect and step off!
What is the reoccurring chorus of the story?
She continually expresses the need to want to destroy a “healthy” relationship. When Bree threatens her therapist by saying she’s going to leave because of money but she never does. Bree also continually goes after her past pimp to stick it to Klute. After all John Klute is just another John.
Bree’s need for control and not being able to enjoy love and happiness unless she is able to manipulate it completely. This was revisited constantly. When she found herself falling in love she ran out of the car to go back to her pimp and randos. She revisited this theme when talking to her therapist. She simply wanted to destroy what was happy in her life. She was always waiting for the other foot to drop. As an actress she was constantly unvalidated and demeaned. She only knew happiness through control.
What becomes of Bree’s cat? The nice tailor adopted the cat and there the cat lives very well in the tailor’s shop.
...And every other weekend, the world's greatest DJ, Ms. Kittin takes custody of Biscuit so they can tour Europe and rave in the best clubs Berlin and Paris have to offer. Rave on little Biscuit. https://www.youtube.com/watch?v=3QcTXXPM5F0
Ah, I read a great quote today and I believe it sums up Bree beautifully. "Consequently, even if something beneficial fortuitously entered their lives they immediately treated it as temporary. By the time they were teenagers they were already accustomed to a discontinuous lifestyle parked by constant threats of abandonment and the lack of any emotional stability."
When Bree and Klute are trying to find information regarding the deceased prostitute and speak with her former madam and lover, the madam upon learning of her death states that she doesn't care and that she is better off dead, grips the hand of her current friend/lover and is clearly very upset by it.
The first time Bree meets Klute. How she acts all nonchalant, even does the mock southern accent, but you can tell she’s nervous from the way her facial expression changes back and fourth between fake smile and frown with each new piece of information she gets from Klute. That, and how she keeps the door open only slightly and slams it shut the moment she realises Klute’s a detective and she isn’t obligated by law to talk to him.
Although Fonda had planned on playing scared for the scene with the murderer (played by Charles Cioffi), when she heard the tape recording of the call girl about to be murdered and the fear in her voice, she unexpectedly started crying.
Are you saying that that particular scream was an actual scream IRL? Cause it was so primal and I have a feeling it was or the entire audition for her character was based on how tell she could perform the scream...
Maybe, it takes me a little to catch on to technique’s used, but I’ll try this one. Hopefully, I understand it correctly. I’m going to attempt to have some faith in my own hypothesis.
Bree, to me, was the core morphing piece of the film. She chooses and becomes what is needed for her clients. She becomes an actress in her experiences and even with Klute. But do we ever really get to see the TRUE Bree? Or is she, like most of us— who we want to be in each situation/friendship we end up in. At the end of the film— she’s morphed into a wife for Klute— but the phone call at the end— trying to bring her back to who she had to be as a call girl. The phone brings her back to the money that is a drug of who she next gets to become. Bree even discusses how she used to live on Park Ave. and was very content with that life style— but now, in a tiny apartment. I don’t know if she ever really became a damsel in distress— but, maybe acted as one for Klute to care for.
Bree even discusses how with each phone call, she chooses who she wants to be with them. The Tailor/dress maker— was the most noticeable morph. Touching and feeling her body in the clothing she wore—
And the dialog in the scene— wow. How even her interactions with Klute go from business, to seduction, to dissatisfaction with being turned away— to Bree feeling triumphant when she finally is intimate with Klute after being afraid of the stranger on the roof. The “Ha! I got you” moment.
Bree was so many variations of herself— the depth of her character was phenomenal and as a viewer— I was engaged in growth she went through without dialog, even. The body language was incredible.
And I defend her being an object because she was a desired thing that could be purchased and served a purpose to multiple people in the film. She was in a constant state of “Who am I? Who do I need to be.”
Jane Fonda absolutely deserved the Oscar for this role. She was incredible as Bree. This film is now in my top 5, thank you, Chuck!
There's a moment that illustrates this technique when Klute is introduced to Frank Ligourin. The pimp ushers Bree out of the door, by approaching her across the room and guiding her to the exit. He then says, "I've always respected Bree." This gesture does not support his dialogue and it's clear to the audience that this is Frank's way of asserting his continued power over her.
Through lines - many shots through grates, fencing etc. Also a lot of window shots and a few deliberate mirror/ reflection shots. We are all prisoners of our own pasts and what we think we know about ourselves.
Bree cries, has a cat, is sad for the old man, AND in the therapist's office, there is a child's drawing hanging behind her. I think, particularly given that therapists tend to specialize in adults OR children, it is suggestive of Bree's hindered emotional development. Beneath her jaded self perception she is somewhat still a child.
When Klute arrives at Bree's apartment for the first time, they converse through the gap in the half-opened door that she chooses to keep on the chain. Her interaction is playful with a reluctance to show her hand. However, it appears as though she may be about to accommodate his request when she says, "You're not a cop? You're not FBI? You're a private detective... and you just want to ask me some questions?" With a friendly smile, she reaches for the latch and closes the door in his face.
There's a bit where it seems very important to Bree, by her dialog, that she gets the tape recordings from Klute. But later on, when he gives them to her, she tosses them in the bin on a public street. He could easily just go grab them again; as could anyone walking by. The action would imply the tapes were less important that previously stated. It was different scenes, though, so not sure it qualifies.
For me - it was when the cop Cable was listening to the tape of Bree talk about the freedom of being without clothes. And between his tight expression and him standing to button up his suit showed his utter disdain for her and her kind. That was the moment I assumed he would be the killer.
An aside - I actually really enjoyed this movie. Although, I was worried about the cat the entire time. How could I not be worried with a question like "what becomes of Bree's cat?"
1. The thru-line objects are the tapes/tape recorder (reminded me a little of ‘Session 9’) and the phone calls.
2. The therapy sessions are the Big Voice device.
3. The scene where Klute beats up the pimp is an example that comes to mind. “We all respect each other here”. 10 seconds later and there’s fist flying and scissors being branded as a weapon.
4. The tape recordings of Bree.
5. The part where she tells Klute that the old man has lost his wife, has been working since he was 14, and that she’s all he has. Doing something frowned upon for a noble reason.
6. Fear of opening up, control, guilt.
7. The cat runs away? Is adopted by the junkies on the upper floor, maybe?
8. A rare birth defect.
Goddamn your fast!
Fastest copy and paste in the west.
I had it locked and loaded too! Goddamn it! lol
Biscuit can't be adopted by the junkies! What kind of life would Biscuit have to look forward to!?
What are the thru-line objects?
Video tapes: The video tapes continually explored different aspects of Bree’s mindset. The video tapes were constantly being used as a form of manipulation to propel the story and characters forward. The video tapes were continually used as a tool to pull emotion and action from the characters.
Telephone rings: The phone rings were never good. They were always a foreshadowing and a device used to build up dread in the audience. Telephones blow.
What is the Big Voice device that allows the characters to externalize their feelings without speaking directly to the audience?
The video tapes and the telephone rings. The video tapes continually expressed Bree’s emotion. Poor Bree screaming in the last scene. The video tapes also expressed Bree’s exploration of a care-free spirit when she continually says to “Let it all hang out.” The video tapes explored Bree’s mindset whether it was terror or trying to understand herself.
The voice recordings and telephone rings were used as a constant form of manipulation. Klute attempted to manipulate Bree into talking with recordings. The killer used both the phone and the voice recordings to manipulate and terrify Bree into submission.
The dialog between her counselor and herself was also a device used to provide the audience with an understanding of exactly where her mindset was at any point in time. Pretty cut and dry.
What scenes use gesture and action to negate what’s said in dialog?
When Bree threatens her therapist by saying she’s going to leave because of money but she never does. She continually expresses discontent for not having her own self. She expresses that she was to destroy and run away and be alone but she’s constantly running back to to someone. Her pimp, Klute, a John,…some rando. She would often state that she wanted to be faceless and alone but she would almost do anything but be alone.
What devices keep the past present in the story?
Video tapes: The video tapes continually explored different aspects of Bree’s mindset and situation. The video tapes were constantly being used as a form of manipulation to propel the story and characters forward. Throughout the story we are reminded of the night that Bree was attacked but never knew the details. The final tape of Bree screaming is terrifying and pulls the actions from the past right in front of us. Horrifying. Also when Bree’s phone rings after walking into her destroyed apartment. She hears her voice recording and becomes terrified all over again.
What actions make us like Bree? She’s not very likable but I suppose she is strong enough to explore different aspects of herself without being shameful. I don’t like the fact that the story continually revisits the idea that she doesn’t know who she is. As if the story is saying: “Obviously only lost, crazy, women explore those aspects of themselves. Look at all the trouble she’s in.” My favorite: She loved the tailor. She knew he was a good, hard working man and he just loved/missed his dear wife and just wanted a little companionship with a little ass and titty. He’s a designer! Have some respect and step off!
What is the reoccurring chorus of the story?
She continually expresses the need to want to destroy a “healthy” relationship. When Bree threatens her therapist by saying she’s going to leave because of money but she never does. Bree also continually goes after her past pimp to stick it to Klute. After all John Klute is just another John.
Bree’s need for control and not being able to enjoy love and happiness unless she is able to manipulate it completely. This was revisited constantly. When she found herself falling in love she ran out of the car to go back to her pimp and randos. She revisited this theme when talking to her therapist. She simply wanted to destroy what was happy in her life. She was always waiting for the other foot to drop. As an actress she was constantly unvalidated and demeaned. She only knew happiness through control.
What becomes of Bree’s cat? The nice tailor adopted the cat and there the cat lives very well in the tailor’s shop.
...and the cat's name is Biscuit. Biscuit is super hyped about his new digs.
...And every other weekend, the world's greatest DJ, Ms. Kittin takes custody of Biscuit so they can tour Europe and rave in the best clubs Berlin and Paris have to offer. Rave on little Biscuit. https://www.youtube.com/watch?v=3QcTXXPM5F0
Ah, I read a great quote today and I believe it sums up Bree beautifully. "Consequently, even if something beneficial fortuitously entered their lives they immediately treated it as temporary. By the time they were teenagers they were already accustomed to a discontinuous lifestyle parked by constant threats of abandonment and the lack of any emotional stability."
LOL you two
Good luck to the winner.
I like when Bree is speaking as though she's into relations with a john... But then looks at her watch. 🤣
That is a classic.
"Oh angel oh angel. My darling angel." Jane fonda says, during sex, before checking her watch.
When Bree and Klute are trying to find information regarding the deceased prostitute and speak with her former madam and lover, the madam upon learning of her death states that she doesn't care and that she is better off dead, grips the hand of her current friend/lover and is clearly very upset by it.
The first time Bree meets Klute. How she acts all nonchalant, even does the mock southern accent, but you can tell she’s nervous from the way her facial expression changes back and fourth between fake smile and frown with each new piece of information she gets from Klute. That, and how she keeps the door open only slightly and slams it shut the moment she realises Klute’s a detective and she isn’t obligated by law to talk to him.
Anyone else reminded of The Invention of Sound when he plays the recorded scream?
Yes. That was horribly painful to hear and the book came immediately to mind.
Right? I was shocked how painful it was to listen to that.
OMG. It really was.
This from the trivia section of IMDB:
Although Fonda had planned on playing scared for the scene with the murderer (played by Charles Cioffi), when she heard the tape recording of the call girl about to be murdered and the fear in her voice, she unexpectedly started crying.
OMG. Unreal. And another thing...there is no movie scene that would have hit that same note. That scream hit something in the core. Goddamn.
Are you saying that that particular scream was an actual scream IRL? Cause it was so primal and I have a feeling it was or the entire audition for her character was based on how tell she could perform the scream...
But the tension and the on-the-body moment of the tear/snot hanging off the tip of her nose helps a lot. It makes you very aware of your own nose.
Very true indeed.
Maybe, it takes me a little to catch on to technique’s used, but I’ll try this one. Hopefully, I understand it correctly. I’m going to attempt to have some faith in my own hypothesis.
Bree, to me, was the core morphing piece of the film. She chooses and becomes what is needed for her clients. She becomes an actress in her experiences and even with Klute. But do we ever really get to see the TRUE Bree? Or is she, like most of us— who we want to be in each situation/friendship we end up in. At the end of the film— she’s morphed into a wife for Klute— but the phone call at the end— trying to bring her back to who she had to be as a call girl. The phone brings her back to the money that is a drug of who she next gets to become. Bree even discusses how she used to live on Park Ave. and was very content with that life style— but now, in a tiny apartment. I don’t know if she ever really became a damsel in distress— but, maybe acted as one for Klute to care for.
Bree even discusses how with each phone call, she chooses who she wants to be with them. The Tailor/dress maker— was the most noticeable morph. Touching and feeling her body in the clothing she wore—
And the dialog in the scene— wow. How even her interactions with Klute go from business, to seduction, to dissatisfaction with being turned away— to Bree feeling triumphant when she finally is intimate with Klute after being afraid of the stranger on the roof. The “Ha! I got you” moment.
Bree was so many variations of herself— the depth of her character was phenomenal and as a viewer— I was engaged in growth she went through without dialog, even. The body language was incredible.
And I defend her being an object because she was a desired thing that could be purchased and served a purpose to multiple people in the film. She was in a constant state of “Who am I? Who do I need to be.”
Jane Fonda absolutely deserved the Oscar for this role. She was incredible as Bree. This film is now in my top 5, thank you, Chuck!
This is some brilliant post rationalization. Too good to be true though👏🏻👏🏻👏🏻👏🏻
What’s that mean?
There's a moment that illustrates this technique when Klute is introduced to Frank Ligourin. The pimp ushers Bree out of the door, by approaching her across the room and guiding her to the exit. He then says, "I've always respected Bree." This gesture does not support his dialogue and it's clear to the audience that this is Frank's way of asserting his continued power over her.
Unrelated to the prize question,
Through lines - many shots through grates, fencing etc. Also a lot of window shots and a few deliberate mirror/ reflection shots. We are all prisoners of our own pasts and what we think we know about ourselves.
Bree cries, has a cat, is sad for the old man, AND in the therapist's office, there is a child's drawing hanging behind her. I think, particularly given that therapists tend to specialize in adults OR children, it is suggestive of Bree's hindered emotional development. Beneath her jaded self perception she is somewhat still a child.
“We are all prisoners of our own pasts and what we think we know about ourselves.”
That’s some juicy Big Voice. Thanks for that, Eric.
Thanks.
When Klute arrives at Bree's apartment for the first time, they converse through the gap in the half-opened door that she chooses to keep on the chain. Her interaction is playful with a reluctance to show her hand. However, it appears as though she may be about to accommodate his request when she says, "You're not a cop? You're not FBI? You're a private detective... and you just want to ask me some questions?" With a friendly smile, she reaches for the latch and closes the door in his face.
There's a bit where it seems very important to Bree, by her dialog, that she gets the tape recordings from Klute. But later on, when he gives them to her, she tosses them in the bin on a public street. He could easily just go grab them again; as could anyone walking by. The action would imply the tapes were less important that previously stated. It was different scenes, though, so not sure it qualifies.
For me - it was when the cop Cable was listening to the tape of Bree talk about the freedom of being without clothes. And between his tight expression and him standing to button up his suit showed his utter disdain for her and her kind. That was the moment I assumed he would be the killer.
An aside - I actually really enjoyed this movie. Although, I was worried about the cat the entire time. How could I not be worried with a question like "what becomes of Bree's cat?"
Also, Klute had the cat carrier initially, but set it down when Bree answered the phone. On their way out, Bree picked up the cat carrier.