Klute, we hear Jane Fonda’s voice in several senses of the word, some more literal than others. Over the opening credits, on a tape-recording of her character Bree Daniels talking business with a john, she is introduced discussing freedom and desire. “As long as you don’t hurt me more than I like to be hurt,” she purrs, “I’ll do anything you ask.
I think the only way any of us can be happy is to let it all hang out. Do it all, and f*** it. ” Bree, because she is a sex worker, is acting; Fonda, because she is both an actor and, by 1971, a woman with a storied history of being manipulated by men into self-presenting as an easygoing sex-kitten, barely seems as if she is.
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