For other uses, see Conversation (disambiguation).
The Conversation is a 1974 mystery thriller about audio surveillance, written and directed by Francis Ford Coppola and starring Gene Hackman, John Cazale, Allen Garfield, Cindy Williams and Frederic Forrest, and featuring Harrison Ford, Teri Garr and an uncredited appearance from Robert Duvall.
The Conversation won the Golden Palm at the 1974 Cannes Film Festival,[1] and in 1995, it was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
Plot
Harry Caul (Gene Hackman) is a paranoid surveillance expert running his own company in San Francisco, and is highly respected by others in the profession. Caul is obsessed with his own privacy; his apartment is almost bare behind its triple-locked door, he uses pay phones to make calls and claims to have no home telephone, and his office is enclosed in wire mesh in a corner of a much larger warehouse. Caul is utterly professional at work, but he finds personal contact difficult. He is uncomfortable in dense crowds and withdrawn and taciturn in more intimate situations; he is also reticent and secretive with work colleagues. He is nondescript in appearance, except for his habit of wearing a translucent plastic raincoat virtually everywhere he goes, even when it is not raining.
Despite his insistence that his professional code means that he is not responsible for worrying about the actual content of the conversations he records or the uses to which his clients put his surveillance activities, he is, in fact, wracked by guilt over a past wiretap job that left three persons dead. His sense of guilt is sharpened by his devout Catholicism. His one hobby is playing along with his favourite jazz records on a tenor saxophone in the privacy of his apartment.
Caul and his friend Stan (John Cazale) have taken on the task of monitoring the conversation of a couple (Cindy Williams and Frederic Forrest) as they walk through crowded Union Square in San Francisco. This challenging task is accomplished, but Caul feels increasingly agonized over his doubts about the actual meaning of the conversation and about what may happen to the couple once the client hears the tape. He plays the tape again and again throughout the movie, refining its accuracy (by catching one key – though crucially ambiguous – phrase hidden under the sound of a street musician: "He'd kill us if he got the chance") and constantly reinterpreting its meaning in the light of what he knows and what he guesses.
Caul avoids handing in the tape to the aide (Harrison Ford) of the man who commissioned the surveillance (Robert Duvall in an uncredited appearance). He then finds himself under increasing pressure from the aide and is himself followed, tricked, and listened in on. The tape is eventually stolen from him in a moment when his guard is down.
Caul's appalled efforts to forestall tragedy ultimately fail — and, it turns out, the conversation might not mean what he thought it did, and the tragedy he anticipated isn't the one that eventually happens. In the final scene, he has come to believe that his own apartment is bugged and goes on a frantic search for the listening device, tearing up the floorboards and destroying his apartment. He fails to find it. At the film's end he is left sitting amidst the wreckage, calmly playing his saxophone.
Cast
Production
On the DVD commentary, Coppola says he was shocked to learn that the film utilized the very same surveillance and wire-tapping equipment that members of the Nixon Administration used to spy on political opponents prior to the Watergate scandal. Coppola has said this is the reason the film gained part of the recognition it has received, but that this is entirely coincidental. Not only was the script for The Conversation completed in the mid-1960s (before the Nixon Administration came to power), but that the spying equipment used in the film was discovered through research and the use of technical advisers, and not, as many believed, by revelatory newspaper stories about the Watergate break-in. Coppola also noted that filming of The Conversation had been completed several months before the most revelatory Watergate stories broke in the press. Since the film wasn't released to theaters until several months after Richard Nixon had resigned the Presidency, Coppola says, audiences interpreted the film to be a reaction to both the Watergate scandal and its fall-out.
The original cinematographer of The Conversation was Haskell Wexler. Severe creative and personal differences with Coppola led to Wexler's firing shortly after production began, Coppola replacing him with Bill Butler. Wexler's footage on The Conversation was completely reshot, except for the technically complex surveillance scene in Union Square.[4] This would be the first of two Oscar-nominated films where Wexler would be fired and replaced by Butler, the second being One Flew Over the Cuckoo's Nest (1975), where Wexler had similar problems with Milos Forman.
Walter Murch served as the supervising editor and sound designer. Murch had more or less a free hand during the editing process, since Coppola was already working on The Godfather II at the time.[5].
Coppola noted in the DVD commentary that Hackman had a very difficult time adapting to the Harry Caul character because it was so much unlike himself. Coppola says that Hackman was at the time an outgoing and approachable person who preferred casual clothes, whereas Caul was meant to be a socially awkward loner who wore a rain coat and out-of-style glasses. Coppola said that Hackman's efforts to tap into the character made the actor moody and irritable on-set, but otherwise Coppola got along well with his leading man. Coppola also notes on the commentary that Hackman considers this one of his favorite performances.
The Conversation features a piano score composed and performed by David Shire. The score was created before the film was shot.[6] On some cues, Shire took the taped sounds of the piano and distorted them in different ways to create alternative tonalities to round out the score. The score was released on CD by Intrada Records in 2001.[7]
Influence
Coppola has cited Michelangelo Antonioni's Blowup (1966) as a key influence on his conceptualization of the film's themes, such as surveillance versus participation, and perception versus reality. "Francis had seen [it] a year or two before, and had the idea to fuse the concept of Blowup with the world of audio surveillance."[8]. There are also several overt borrowings from Blowup, notably the presence of mimes in both films and the central sequences involving the enhancement of a medium to reveal details previously unnoticed (photography in Blowup, audio tapes in The Conversation).
The concept of an audio technician using his expertise in the investigation of a possible crime was also copied in the 1981 film Blow Out. Like The Conversation, it was inspired by Blowup.
In the X-Files episode "E.B.E.", FBI Agent Fox Mulder (played by David Duchovny), while searching for evidence of electronic surveillance in his apartment, tears his living quarters asunder in a manner similar to Harry Caul's ransacking of his own apartment. X-Files creator Chris Carter has acknowledged the scene was an homage to The Conversation.
The film influenced the 1998 spy thriller Enemy of The State which starred Hackman and Will Smith.[citation needed]
The Industrial music band Clock DVA uses an extended sample of a Harry Caul monologue on the track The Connection Machine from their 1989 album Buried Dreams.
Awards
In 1995, The Conversation was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". It won the 1974 Golden Palm at the Cannes Film Festival. The film was nominated for three Academy Awards for 1974:
See also
References
Notes
Bibliography
External links
|
Francis Ford Coppola |
|
| 1960s |
|
|
| 1970s |
|
|
| 1980s |
|
|
| 1990s |
|
|
| 2000s |
|
|
| Shorts |
|
|
| Credits |
Patton (Writer, 1970) · THX 1138 (Executive Producer, 1971) · American Graffiti (Producer, 1973) · The Great Gatsby (Writer, 1974) · The Black Stallion (Executive Producer, 1979) · Kagemusha (Executive Producer: International Version, 1980) · Hammett (Producer, 1982) · Koyaanisqatsi (Producer, 1982) · The Black Stallion Returns (Executive Producer, 1983) · Mishima: A Life in Four Chapters (Producer, 1985) · Tough Guys Don't Dance (Executive Producer, 1987) · Lionheart (1987, Executive Producer) · Powaqqatsi (Executive Producer, 1989) · Hearts of Darkness: A Filmmaker's Apocalypse (appearance, 1991) · The Junky's Christmas (Producer, 1993) · Frankenstein (Producer, 1994) · Don Juan DeMarco (Producer, 1995) · Lani Loa - The Passage (Producer, 1998) · The Florentine (Producer, 1999) · The Virgin Suicides (Producer, 1999) · Sleepy Hollow (Producer, 1999) · Jeepers Creepers (Executive Producer, 2001) · Lost in Translation (2003, Executive Producer) · Jeepers Creepers II (Executive Producer, 2003) · Kinsey (Executive Producer, 2004) · The Good Shepherd (Executive Producer, 2006) · Marie Antoinette (Executive Producer, 2006) · Somewhere (Executive Producer, 2010)
|
|
| Enterprises |
|
|
| Family |
|
|
