William Klein is the American in Paris. Since 1948, he's used his estranged status to his advantage, never affixing himself to any given art movement. As a result, Klein has endured obscurity and fame in equal measure. But his fifty years of films show no ambivalence. They are audacious, energetic, and witty, boldly staking out their own style, an expressionistic cinema characterized by quirky art direction and infused with the artist's fascination with identity as a function of social performance and squandered accessorizing. This awareness resonates throughout his fanciful features, Who Are You, Polly Maggoo?, Mr. Freedom, and The Model Couple, and his lively documentaries flaunting such slippery subjects as Muhammad Ali, Little Richard, and the French Open.
Klein established his reputation in the mid-fifties as a photographer, first of the street, with rude images of everyday citizens, and then of the rarefied realm of haute couture. The heightened artifice of fashion informs much of Klein's subsequent film work, for it is there that surface, the medium of performance, finds its apotheosis. Klein's outsider status, meanwhile, sets loose a skepticism about allegiances, political and otherwise, that finds its idiosyncratic expression in seething spoofs like Mr. Freedom and The Model Couple, but also in less expected places like his verité portraits of Eldridge Cleaver, the “New Creators” of French couture, and Handel's Messiah. Whatever benefits of displaced vision may accrue to the stranger, William Klein knows them from the inside out.