a strange script. fascinating cast. a not comfortable story. a man out from its gray life, a confusion, a verdict and the search of the answer. and the last decision. it could be a page from Kafka. or only episode from Calvino/Borges work. it could be a war episode. in fact, it is a seductive parable about the truth and its dark shadow. Alain Delon does one of his greatest roles and that remains, after decades, one of the basic virtues of this question-film. because it is one of films who propose only a question. about every day life, about the other, about the security who seems be out of debates, about curiosity and about fear. and, sure, about accidents who becomes destiny. short, a film who must see. for the status of challenge. for the meeting of a different Joseph K. from the Trial.

a beautiful cold film. ice atmosphere. strange pieces. fragments from Kafka. labyrinth of a character, search of answer and a terrible end. a film like an experience and one of the most remarkable roles of Alain Delon. Mr. Klein is , in same measure, a film about certitudes, Shoach and solitude. about fear and importance of choices. about the Borges universe of appearances and strange answers. more than a good film, it is an useful one. because could be extraordinary translation of one of greatest tragedies of XX century. because it gives new dimension to the doubt. because it is a seductive image of an empty life who becomes profound different. and, sure, because it has a real good cast. see it !

Exquisite, excruciating existential thriller from director Joseph Losey. (Spoilers follow.)On the simplest level, Mr. Klein is a story of mistaken identity and a powerful indictment of fascism...but it is much more than that. The abiding mystery here is the relationship between a man of mediocre virtue and his doppelganger, who appears to be everything Mr. Klein is not. Mr. Klein at first fears his double, then becomes fascinated by him, then comes to deeply admire him. At the end of the movie, the comfortable bourgeois Paris of Mr. Klein has become a moral cinder, utterly corrupt, and Klein--who only moments before declared, "This has nothing to do with me!"--chooses to follow his double into the boxcar of death.On the level of surface story, this is a paranoid thriller with a gloomy ending; on the level of fable, it is a story of self-discovery and transcendence, as the two Mr. Kleins, who never meet, nonetheless merge. The best Losey films gives us more than we bargained for and take us to places we did not expect, and this is one of his best and most complex movies.

Delon as the classic "individualist" who profiteers until finally the Brechtian idea of "first they came for 'x', you weren't concerned..." simply happened is a paranoiac, gloomy view of France during the war. A bit heavy-handed from the start, nevertheless is thrilling and keeps you wondering what is really happening till the end. Harder to follow than any Hitchcock or Christie, probably on purpose, as if to say: Life is not always so clear cut.Lady Moreau and Francine Bergé could have had more "character development", while beautiful leggy Juliet Berto's long figure and erratic behaviour is all we can see from Bob's fiancé. Robert is cold, intelligent, self assured, able to answer like a French writer while his house is being requisitioned by the police. Lonsdale, from many Buñuel films, gives us the eerie feeling so necessary for this film to succeed. Jugnot and Aumont deliver in their smaller roles. Suzanne Flon, from "Un crime au paradis" among others, is convincing in her obfuscated part.Gerry Fisher's cinematography and Egisto Macchi's score make this film stand apart, you've get the feeling of "really being there". In the grim and everyday aspects, not fictionalized for being palatable. mackjay from IMDb writes: "Klein's mixture of desperation and arrogance with so much conviction, it's easy to forget he is, after all, acting". C. Tashiro adds that the Nazi horrors are taken for granted, making them more real. Like J. L. Borges usually quipped: "There are no camels in the 1001 nights" meaning those involved don't notice what we, the viewers, probably would.Franco Solinas's script conveys paranoia as faced by somebody who seems never to have suffered for anything, nor anybody for that matter. Great film, but obviously, not "light viewing". Maybe a tad slow for nowadays's viewers.Gripping!!