Jane Fonda is allowed to talk out much of her characterization of a pricey Manhattan call girl, by way of tape recordings, phone calls, psychiatric sessions. But while maintaining a sympathetic and an open ear, director Alan Pakula appears to be distracted by the problems of fitting her, just so, into the fastidious pictorial compositions, pinning her to a faraway one-dimensional design or wedging her alongside a blocky, shadowy framing device or sealing her inside photographer Gordon Willis's frigid blue-ish color tones. The visual style is heavily indebted to chic erotic thrillers of an Italian make. Fonda's performance is heavily indebted to her TV talk-show appearances. And Donald Sutherland, as a Pennsylvania policeman on a missing-person search, acts as if he is short of clues both to the case and to the character, and as if he is well aware, even so, that he is strictly second-banana, and he prudently decides to keep his lips pursed. His is a highly suspicious characterization in every sense. (1971) — Duncan Shepherd
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