<rss xmlns:atom="http://www.w3.org/2005/Atom" version="2.0"><channel><title>Alan J Pakula - vo.rs</title><link>https://vo.rs/tags/alan-j-pakula/</link><description>Latest from the Alan J Pakula desk at vo.rs.</description><generator>Hugo -- gohugo.io</generator><language>en</language><copyright>This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.</copyright><lastBuildDate>Fri, 26 Apr 2024 10:00:00 +0000</lastBuildDate><atom:link href="https://vo.rs/tags/alan-j-pakula/" rel="self" type="application/rss+xml"/><item><title>Klute: The Thriller That Belongs to Its Witness</title><link>https://vo.rs/screen/klute-the-thriller-that-belongs-to-its-witness/</link><description>&lt;p&gt;The most subversive thing about &lt;em&gt;Klute&lt;/em&gt; is hiding in its title. Alan J. Pakula named his 1971 thriller after John Klute, the small-town detective who comes to New York hunting a missing friend, and then spent the entire film handing the story over to the woman Klute is investigating — a call girl named Bree Daniels, played by Jane Fonda in a performance that reorganised what a thriller could be about. The genre machinery is all here: a stalker, a disappearance, tapped phones, a killer in the dark. But Pakula keeps redirecting our attention away from the plot and toward the interior life of the person the plot is happening to, until you realise the mystery is the least interesting thing in the room. The film is watching Bree think, and it belongs entirely to her.&lt;/p&gt;</description><pubDate>Fri, 26 Apr 2024 10:00:00 +0000</pubDate></item></channel></rss>