Review of The Conversation (1974) by Brandon W — 15 Nov 2010

Frances Ford Coppola is undoubtedly the master and be all end all of 70s cinema. He found Lucas and produced American Graffiti and on his own created three of the greatest films of all time that would far outlive the decade, The Godfather Parts I and II and Apocalypse Now. Indeed it wasn't until the 80s and 90s his career hit a full-fledged slump with such duds as The Outsiders, Dracula and his lowest point Jack... But tucked away while he was at the top of his game is The Conversation literally created between the two Godfathers a paranoid, anti-technology, mystery "thriller" featuring Gene Hackman and an all-star cast of other now legends than little knowns. So where does it stand is I guess the question I've undertaken in setting off to review it. Is it better than the Godfathers? Is it a revolutionary film unjustly forgotten? Is it actually Coppola's best? No, not at all, it's more artistically ambitious than The Godfathers but lacks their epic scope and can't hold a candle in experimentation to Apocalypse Now. What it is, is a characteristically dark, shadow filled film that plays out like a New York Style Street film, like an early Scorsese, Mean Streets, Taxi Driver you know the type. And a good one at that despite being set in San Francisco and not having much action at all... So is this movie for Coppola completists and film snobs alone or should you give it a view? Let's take a listen...heh heh.

So the movie centers around Harry Caul (Gene Hackman who gives a hell of a performance all the more enjoyable because it's not the archetypal Hackman badass role but quite the opposite) a paranoid, loner, who lives a life of isolation pushing away personal contact because he is a preeminent wire tapper and knows how easy it is to keep tabs on people. It's like the whole doctors are more paranoid about their children's minor illnesses' thing but far more sad and pathetic. Anyways he is given the nearly impossible task of recording a conversation between two people walking in a circle in and out of a bustling crowd, in a city pavilion at lunch hour. He accomplishes it but has qualms about turning it in to his shady client The Director (a brief but powerful cameo by Robert Duvall) and thus begins the theme of professionalism vs. morals. The criminally underrated and gone to soon John Cazale appears as his partner and "friend" Stan who now in a more important role than his in The Godfathers shows what a genuine scene stealer and delivers the line the sums up what you should walk away from this movie with, "Curiosity Harry, it's human god damn nature." Wrapping up the 70s ensemble we have Frederic Forrest of Apocalypse Now fame as one of the subjects, and the always enjoyable Harrison Ford as a persistent underling of the Director coolly determined to get those tapes from Harry. It all weaves dreamlike to a stunning shock ending that I can honestly say I did not see coming and it's not because it's bad writing it felt like a math puzzle...oh that's the part I didn't see it all makes sense wish I'd caught on before damn it!

The movie had much more of an impact on me upon subsequent viewings though, for I must confess it's an immersive film and the first time I watched it my mind was wandering a bit and I missed some key details. Subsequent viewings though as someone who takes pride in being able to not get sucked in to stupid movies due to a healthy if annoying to others sense of skepticism I was utterly enthralled in it to the point there was one scene my heart was racing right along with Harry as his conscience ate away at him. Like I said though what struck me that I've not heard discussed much was Coppola's directing of the film. It feels a lot like an early Scorsese, with an ethereal almost Kubrickian sense at times but what I found most interesting were some pretty horrific nightmare scenes of Harry's that seemed pure David Lynch to me. Point is apart from being as always painstakingly shot Coppola was messing around a lot with the camera, effects and his influences here all the while maintaining his legendary style, and Rembrandt like use of shadows that are his trademarks. I always admire a Director who can experiment without losing himself. What made this movie such a critical darling though and even got it a Best Picture nomination against Godfather Part II and Chinatown is what an elaborate character study it is. You are absorbed for better or worse in the sad and morose life of Harry Caul (Call? Phone? Wire Tapping? Is This Thing On?) and nearly everything he does in this is so geniously written to match his careful, paranoid, neurotic personality and I dare say this is one of Coppola's best written films, just so much attention to detail whether it be where the cameras are positioned or the actions of Harry you can't help but appreciate what an intricate and underrated little masterpiece this is.

But this is not without its flaws, you can definitely tell it was done quickly between the two Godfathers, if you have no idea what wiretapping was like in the 70s this movie does but will do little to enlighten you, and it feels like there's more to tell of the story. But I suppose that can be chalked up to an engrossing viewing leaving you hungry for more not some sort of fault of the movie. So basically this is not Coppola's greatest movie but it is a damn good one tucked away unfairly in the folds of time and if you like me have the opportunity to get ahold of a copy of it I'd go for it especially if you're interested in the works of Coppola, Hackman, Cazale, Ford or any other genius of the industry associated with this movie. You know before they sold out or died.