The incremental evolution of Klein’s personality, from cavalier to panicked, and the wavering oscillation between his apprehension and his inquisitiveness, is realized with suitably gradual, subtle precision by Losey.
3.7* It's kind of hard for me to actually "enjoy" Losey's films, although I have seen many and regard them (and him) highly. His lead characters are often unlikable, and the mood generally cold and distant. But I wouldn't want him to have been anything other than true to his own vision. And filmgoers are probably better served by him having left Hollywood just as he was reaching his prime.
Cinematography by Gerry Fisher. "Desire" list. One of the peaks of Losey, who catches remarkably well Delon in his middle age. By this time it was known that, like Newman, Delon was not only the animal more beautifully captured by greedy lenses as well a master player, ie, "race" and style, which is not exactly usual.
An altogether distinct view on the Vichy Regime as seen through the lens of one man trying to prove his identity. The combination of impending doom, mistery, the absurd, over-complicated bureaucracy provides this film with a certain, almost kafkaesque, quality. Alain Delon, proving once again his grand talent, gives life to a remarkable character, thus making this underrated gem all the more important.
Alain Delon is great and Losey crafts a film that deserves to be more well-known than it is. Mr. Klein lost the Palme d'Or at Cannes in 1976 to Taxi Driver, but truth be told, I actually consider Klein to be my favorite film of that year.
Yes, the banality of evil, yada-yada. But the mood, the tone, the pure mise-en-scène: this is the only film that I've seen that does justice to its Kafkian reference. Its sickening yellow is an invention of its own; its downright unbearable protagonist, wonderfully played by Delon, is much more than an allegory.