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This is closest to Pandora's Box in the way the character's comeuppance in no way negates the heady vulgarity of what precedes it.
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Her romance with Klute complicates and, in true '70s Hollywood fashion – never entirely clarifies these emotions.īefitting Schrader, this is a strange beast of a film that revels in its very '80s trashiness – the way Gere struts salaciously through the frame in his Armani suits is ne plus ultra wealth porn – until appending a transfigurative climax straight out of Robert Bresson's masterful study of a kleptomaniac, Pickpocket (1959). In a key early shot she glances at her watch mid-coitus and it doesn't feel like a shamed expression so much as a comically frustrated one – a working-girl feminist trying to keep to her schedule.īut elsewhere she notes that there's a certain hollowness to her profession at one point she observes to her psychologist that she wishes she could go back to "just feeling numb". This is the film that is perhaps closest to The Girlfriend Experience in its overall sense of ambiguity. The famous scene in which Nana tears up while watching Carl Theodor Dreyer's silent-film classic The Passion of Joan of Arc (1928), seemingly seeing something of her own struggles in that film's martyred heroine, is unforgettable.Īlan J Pakula's crime thriller Klute (1971) is less about the eponymous detective (Donald Sutherland) investigating the disappearance of an executive than it is about the New York City call girl Bree Daniels (an extraordinary Jane Fonda, winner of the best actress Academy Award for her efforts) who gets caught up in the case. Godard emphasises the emotional toll of the story by shooting the action for maximum alienation: the way he introduces Nana, via a series of extreme close-ups, the music swelling and dropping out at unpredictable moments, sets the tone for what follows. (In The Girlfriend Experience series, Christine's friend/colleague Avery, played by Kate Lyn Sheil, wears a similar 'do). Her hair is done up in the same iconic bob as Lulu.
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Subtitled A Film in Twelve Tableaux, the movie presents a series of vignettes from the life of acting hopeful-turned-tragic harlot Nana (Anna Karina). The influence of Pandora's Box is more than evident in the great French director Jean-Luc Godard's 1962 masterpiece Vivre sa vie (My Life to Live), though its overall approach is distinctly disaffected.