In Joseph Losey's 1976 classic 'Mr. Klein,' French star Alain Delon is at his best as an art dealer who takes advantage of Jewish people in Nazi-occupied Paris.
The shock of seeing Joseph Losey’s newly restored, long unavailable “Mr. Klein” is not so much surprise at how compelling it is but astonishment at how it seems more relevant today than it did at its original 1976 release.
But there was criticism as well for Losey as an expatriate American making a French language film set against one of that country’s darkest moments, theThat 1942 event saw French police, not German soldiers, carrying out a mass arrest of some 13,000 foreign Jews living in Paris, something that no one expected and few survived.
What this means in practice is that the story arc of “Mr. Klein” is anything but a world of simplistic finger pointing.and “Accident,” Losey created a Kafkaesque world where everyone is vulnerable and no one is on safe ground, a world where nothing is certain, not even your own identity. Especially your own identity.
No one could do pitiless men in a pitiless world better than Delon, an actor who held the screen without apparent effort. But in “Mr. Klein,” he is equally good at providing an acute psychological portrait of what happens when the façade begins to crack, when ground that seemed firm underfoot proves to be less so.
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