The Conversation is a psychological thriller, written and directed by Francis Ford Coppola, a name which requires no introduction. Best known for The Godfather series, Coppola has also been associated with Dracula (1992), Apocalypse Now (1979), Rumble Fish (1983) and The Rainmaker (1997). Not much active as a director now, he's passed on the chair to his daughter, himself continuing as a producer. Gene Hackman plays protagonist Harry Caul, the best surveillance expert that money can buy. Operating in San Francisco, he is known to design his own equipments and work in secrecy, so much so that it annoys his business partner Stan (John Cazale). Also, if you're a fan of the America's favourite on-screen President, you can see a much younger version of him in here. Harrison Ford as Martin Stett.
The movie revolves around a conversation between Mark (Frederic Forrest) and Ann (Cindy Williams) while walking at the Union Square (obviously crowded) in San Francisco, which is recorded by Harry Caul using various surveillance operatives located at strategical positions around the Square. The catch in this task is to record and isolate the actual conversation amidst various other noises and sounds. Using different equipments, Harry manages to make one tape of the whole conversation without any noises. But, on hearing the tape, Harry is intrigued by the conversation that takes place, especially a line that Ann spoke, "He'd kill us if he got the chance." Harry plays the conversation over and over again, disturbing not only his personal but also his professional life. The inability of Stan to comprehend Harry's interest in the conversation and Harry refusing to answer Stan's questions leads to them reaching an impasse and Stan deciding not to work with Harry anymore.
Obviously, this was just the tipping point. Stan had been uncomfortable since the beginning of his work tenure with Harry. Not allowing anyone into his apartment. Designing his own equipments. Calling clients from a pay-phone. But, nevertheless, he continued, out of respect and awe for the professional Harry was.
After hearing the conversation tapes multiple times and his conscience biting him every time he heard Ann's lines, Harry comes to the conclusion that, just like before, his tape has put two innocent human beings in harm's way. This is evident from a confession he makes at the church. The irony is, being in the career he was, one must not have such a conscience. There is no way of determining what value a surveillance tape has to a client. Moreover, he doesn't know the client in order to determine what his next move may be, after getting the tapes.
Coppola plays on the psyche of individuals who assume the role of messengers. A messenger's job is to take a message from someone and to deliver it to someone. He has no right over the message, nor any responsibility of the after-math of the message. But, the messenger unconsciously takes up the responsibility and invites guilt on his part, which is not really required. This is one of the reasons wise men advise us not to get involved with anything on the professional front. One should just concentrate on getting one's work done. The more involved one gets at the work place, the more doomed one becomes.
This movie can very well be categorised as what one calls "Absurd theatre". The only action that happens is related to the conversation between Mark and Ann and Harry's attempt to understand the meaning of the conversation and to avert any mishaps that may occur as a result of this conversation. The only revelation or turning point happens when Harry finally understands the real meaning of the conversation, which is like the only leaf that springs up on the barren tree in the play Waiting For Godot by Samuel Beckett.
Why to watch? Pure Genius of Francis Ford Coppola. No doubt he had already proved himself with The Godfather series, this was just another feather in his cap. Unfortunately, this film deserved The Best Film Oscar that year, but lost it to Godfather II, also a Coppola movie, which was equally deserving. The fact that Gene Hackman has over 90 credits to his name as an actor, says a lot about his calibre as an actor and his choice of movies. A young Harrison Ford in a ruthless character like Martin Stett is just the cherry on top of the cake called The Conversation.
The fact is, we can only be responsible for our own actions. But when we start feeling guilty of others' actions which are a result of our actions, what can stop us from losing our sanity? Maybe the fact that we cannot control anything in this world, apart of ourselves. Maybe the belief that we are not really responsible for others' actions. Or, are we?
The movie revolves around a conversation between Mark (Frederic Forrest) and Ann (Cindy Williams) while walking at the Union Square (obviously crowded) in San Francisco, which is recorded by Harry Caul using various surveillance operatives located at strategical positions around the Square. The catch in this task is to record and isolate the actual conversation amidst various other noises and sounds. Using different equipments, Harry manages to make one tape of the whole conversation without any noises. But, on hearing the tape, Harry is intrigued by the conversation that takes place, especially a line that Ann spoke, "He'd kill us if he got the chance." Harry plays the conversation over and over again, disturbing not only his personal but also his professional life. The inability of Stan to comprehend Harry's interest in the conversation and Harry refusing to answer Stan's questions leads to them reaching an impasse and Stan deciding not to work with Harry anymore.
Obviously, this was just the tipping point. Stan had been uncomfortable since the beginning of his work tenure with Harry. Not allowing anyone into his apartment. Designing his own equipments. Calling clients from a pay-phone. But, nevertheless, he continued, out of respect and awe for the professional Harry was.
After hearing the conversation tapes multiple times and his conscience biting him every time he heard Ann's lines, Harry comes to the conclusion that, just like before, his tape has put two innocent human beings in harm's way. This is evident from a confession he makes at the church. The irony is, being in the career he was, one must not have such a conscience. There is no way of determining what value a surveillance tape has to a client. Moreover, he doesn't know the client in order to determine what his next move may be, after getting the tapes.
Coppola plays on the psyche of individuals who assume the role of messengers. A messenger's job is to take a message from someone and to deliver it to someone. He has no right over the message, nor any responsibility of the after-math of the message. But, the messenger unconsciously takes up the responsibility and invites guilt on his part, which is not really required. This is one of the reasons wise men advise us not to get involved with anything on the professional front. One should just concentrate on getting one's work done. The more involved one gets at the work place, the more doomed one becomes.
This movie can very well be categorised as what one calls "Absurd theatre". The only action that happens is related to the conversation between Mark and Ann and Harry's attempt to understand the meaning of the conversation and to avert any mishaps that may occur as a result of this conversation. The only revelation or turning point happens when Harry finally understands the real meaning of the conversation, which is like the only leaf that springs up on the barren tree in the play Waiting For Godot by Samuel Beckett.
Why to watch? Pure Genius of Francis Ford Coppola. No doubt he had already proved himself with The Godfather series, this was just another feather in his cap. Unfortunately, this film deserved The Best Film Oscar that year, but lost it to Godfather II, also a Coppola movie, which was equally deserving. The fact that Gene Hackman has over 90 credits to his name as an actor, says a lot about his calibre as an actor and his choice of movies. A young Harrison Ford in a ruthless character like Martin Stett is just the cherry on top of the cake called The Conversation.
The fact is, we can only be responsible for our own actions. But when we start feeling guilty of others' actions which are a result of our actions, what can stop us from losing our sanity? Maybe the fact that we cannot control anything in this world, apart of ourselves. Maybe the belief that we are not really responsible for others' actions. Or, are we?
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