Review of The Conversation (1974) by White R — 01 Feb 2010

Mark: He'd kill us if he got the chance.

In my opinion, I believe that during the 70s, Francis Ford Coppola was one of the greatest working directors. With two Godfather films, a Vietnam war epic, and this film, Coppola was on fire during this time. I love this film, just as much, if not more than his Mafia epics, and I give it credit, just as I do with the Godfather films for doing basically everything right.

Gene Hackman stars as Harry Caul, a private and cautious surveillance expert, recording conversations for other people for a living. On one particular assignment, involving a man and a women having a cryptic conversation in a park in San Francisco, Harry becomes very involved with what the meaning behind the dialogue exchange is, and more so once the party he is working for begins to act much more suspicious than he would like. What follows is Harry's attempts to get a grip on the assignment he's drawn himself into, while also dealing with the lone existence he's created for himself.

Hackman is great here. Playing a character much different than the majority of other roles he's been given, here he has the task of underplaying many emotions to convey the life of a person deep inside his own shell. From the way he handles conversations to the stray looks he gives to something not quite right, Hackman shines throughout. Co-starring in the film you also have John Cazale (look him up, died too young, but very impressive filmography) playing an associate of Harry's. Then you have Harrison Ford in what is probably his creepiest role ever.

Harry Caul: I'm not afraid of death, but I am afraid of murder.

The look of this film is great, using the surveillance theme as a wonderful way to mix both the plot and the overall atmosphere the film attempts to evoke. Having the opening conversation repeated again and again, propelling both Harry and the viewer into a spiral of analysis over the meaning and context of what is being said functions effectively and leads greatly into the films final act.

While mostly playing out as a character study with themes involving paranoia, the thriller elements that work their way into the are quite effective as well, while never sacrificing the character work handled throughout.

Certainly helping is the score by David Shire, which effectively supports the moods of the characters and the fact that Harry's character is a jazz fan works nicely into the film as well.

Not much more to say, besides the fact that this is just a truly great film.

Martin Stett: I'm not following you, I'm looking for you. There's a big difference.