The Conversation
Theatrical release poster
Directed by	Francis Ford Coppola
Written by	Francis Ford Coppola
Produced by	Francis Ford Coppola
Starring	Gene Hackman John Cazale Allen Garfield Cindy Williams Frederic Forrest
Cinematography	Bill Butler
Edited by	Walter Murch Richard Chew
Music by	David Shire
Production company	The Directors Company
Distributed by	Paramount Pictures
Release date	April 7, 1974 (1974-04-07)
Running time	113 minutes
Country	United States
Language	English
Budget	$1.6 million
Box office	$4.4 million

The Conversation is a 1974 American mystery thriller film written, produced, and directed by Francis Ford Coppola and starring Gene Hackman, John Cazale, Allen Garfield, Cindy Williams, Frederic Forrest, Harrison Ford, Teri Garr, and Robert Duvall. The film revolves around a surveillance expert and the moral dilemma he faces when his recordings reveal a potential murder.

The Conversation premiered at the 1974 Cannes Film Festival, where it won the Palme d'Or, the festival's highest prize, and was released theatrically on April 7, 1974, by Paramount Pictures to critical acclaim but box office disappointment, grossing $4.4 million on a $1.6 million budget. The film received three nominations at the 47th Academy Awards; Best Picture, Best Original Screenplay, and Best Sound.

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".^[1]

Plot

Surveillance expert Harry Caul runs a private company in San Francisco offering wiretapping services. Caul, his colleague Stan, and some freelance associates are bugging the conversation of a couple as they walk through crowded Union Square.

Against a cacophony of background noise, the couple discusses their fear that they are being watched and mention a discreet meeting at a hotel in a few days. Later, Caul filters and merges the three tapes recorded from different points by his operatives; the result is a clear recording whose meaning is ambiguous.

Caul is obsessed with his own privacy: his apartment is almost bare behind its triple-locked door and burglar alarm, he uses pay phones to make calls, and his office is enclosed in a chain-link cage in a corner of a much larger warehouse. He has no friends, his girlfriend Amy knows nothing about him, and his sole hobby is playing along to jazz records on a tenor saxophone alone in his apartment.

He insists that he is not responsible for the content of the conversations he records or the use to which his clients put his surveillance, but he is wracked with guilt about a past job that was followed by the murders of three people. His sense of guilt is amplified by his devout Catholicism.

Caul attempts to deliver the recording but his client, referred to only as "the Director", is not in his office. Caul refuses to leave the tape with his client's assistant, Martin Stett, who warns him against getting involved and tells Caul that the tapes are "dangerous.” After refusing to turn over the tapes, Caul sees both the man and the woman in the building.

Increasingly uneasy about what may happen to the couple, Caul repeatedly replays and refines the recording. Using a filter, he uncovers a key phrase hidden under the sound of street musicians: "He'd kill us if he got the chance."

Caul avoids turning the tape over to Stett, and soon comes to believe that he is being followed, tricked, and bugged. Soon, after a party in his office with other surveillance professionals, the tape is stolen by a prostitute Caul engages, Meredith.

Caul receives a call from Stett, who tells him the Director couldn't wait any longer. He visits the Director, and learns that the woman in the recording is the Director's wife and is apparently having an affair with the man.

Caul books a hotel room next to one mentioned in the recording, and uses equipment to overhear the Director in a heated argument with his wife. When he goes to the balcony, he sees a bloody hand slam against the glass partition; believing he was witnessing the wife being murdered, he retreats in shock. He later breaks into the hotel room to find no sign of the murder, except for the toilet, which overflows with bloody water when he flushes it (which may or may not be his imagination).

Caul attempts to confront the Director at his office but is told he is absent. While leaving, Caul notices the wife, alive and unharmed, in a limousine. He later sees a newspaper headline about an executive killed in a car accident, and realizes the truth: the couple he heard was plotting the murder of the woman's husband, and Caul witnessed the murder of the Director himself. This helps Caul realize that through all of his previous listens of the recordings, he missed the emphasis on the word "us" in the statement "He'd kill us if he got the chance", which was the man telling the wife that they would be killed by The Director if he learned about the affair.

Caul gets a phone call from Stett, who tells him not to look into the matter, adding "We'll be listening to you" before playing a recording of Caul's saxophone from seconds earlier. Caul frantically searches for a listening device, disassembling and destroying everything in his apartment from light fixtures, air vents, thermostats, smoke directors to the floors and the walls, to no avail. He sits amid the wreckage playing his saxophone, the only thing in his apartment left intact.

Cast

Production

Principal photography began November 27, 1972, and finished in late February 1973. 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 a year or two before, and had the idea to fuse the concept of Blowup with the world of audio surveillance."^[3]

On the DVD commentary, Coppola says he was shocked to learn that the film used the 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 reason is why the film gained part of the recognition it has received, but it is entirely coincidental. Not only was the script for The Conversation completed in the mid-1960s (before the Nixon Administration came to power), but 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. Because the film was released to theaters just a few months before Richard Nixon resigned as president, Coppola felt that 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, and Coppola replaced 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 movie was 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 Miloš Forman.^[5]

Walter Murch served as the supervising editor and sound designer. Murch had more or less a free hand during the editing process because Coppola was working on The Godfather Part II at the time.^[6] Coppola noted in the DVD commentary that Hackman had a very difficult time adapting to the Harry Caul character because he 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.^[7] On some cues, Shire used musique concrète techniques, taking the taped sounds of the piano and distorting them in different ways to create alternative tonalities to round out the score. The score was released on CD by Intrada Records in 2001.^[8]

Inspiration

The character of Harry Caul was inspired by surveillance technology expert Martin Kaiser, who also served as a technical consultant on the film.^[9][10] According to Kaiser, the final scene of the film—in which Caul is convinced he is being eavesdropped in his apartment, cannot find the listening device, and consoles himself by playing his saxophone—was inspired by the passive covert listening devices created by Léon Theremin, such as the Great Seal bug. "He couldn't find out where was because it was the instrument itself."^[11]

Coppola also based Caul on the protagonist of Herman Hesse's 1927 novel Steppenwolf, Harry Haller, a "total cipher" who lives alone in a boarding house. Coppola also made Caul religious, originally intending the character to have a confession scene; Coppola has said that the practice of confession is "one of the earliest forms of the invasion of privacy--earliest forms of surveillance."^[12]

Reception

Box office

The film had a $1,600,000 budget and grossed $4,420,000 in the U.S.

Critical response

The film has a 97% rating on Rotten Tomatoes, based on 68 reviews, with an average rating of 8.80/10. The site's critics consensus reads "This tense, paranoid thriller presents Francis Ford Coppola at his finest—and makes some remarkably advanced arguments about technology's role in society that still resonate today."^[13] On Metacritic, the film has a weighted average score of 87 out of 100 based on 17 critics, indicating "universal acclaim".^[14]

Roger Ebert's contemporary review gave The Conversation four out of four stars and described Hackman's portrayal of Caul as "one of the most affecting and tragic characters in the movies".^[15] In 2001, Ebert added The Conversation to his "Great Movies" list, describing Hackman's performance as a "career peak" and writing that the film "comes from another time and place than today's thrillers, which are so often simple-minded".^[16]

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".^[17] Gene Hackman has named the film his favorite of all those he has made. His performance in the lead role was listed as the 37th greatest in history by Premiere magazine in 2006.^[18] In 2012, the Motion Picture Editors Guild listed the film as the eleventh-best edited film of all time based on a survey of its membership.^[19]

Accolades

The Conversation won the Grand Prix du Festival International du Film, the highest honor at the 1974 Cannes Film Festival.^[20] The film was also nominated for three Academy Awards for 1974,^[21] but the Academy preferred Coppola's The Godfather Part II, unlike critics in the National Board of Review and the National Society of Film Critics.^[22]

Trivia

According to film critic Kim Newman, the 1998 film Enemy of the State, which also stars Gene Hackman as co-protagonist, could be construed as a "continuation of The Conversation". Hackman's character Edward Lyle in Enemy of the State closely resembles Caul: he dons the same translucent raincoat, and his workshop is nearly identical to Caul's. Also, the photograph used for Lyle in his NSA file is actually a photograph of Caul. Enemy of the State also includes a scene which is very similar to The Conversation's opening surveillance scene in San Francisco's Union Square.^[30]

The film ranked 33rd on the BBC's 2015 list of "100 Greatest American Films", voted by film critics from around the world.^[31] In 2016, The Hollywood Reporter ranked the film 8th among 69 counted winners of the Palme d'Or to date, concluding "Made in a flash between the first two Godfather movies, Coppola’s existential spy thriller has since become a pinnacle of the genre."^[32]

A television pilot starring Kyle MacLachlan as Harry Caul was produced for NBC. It was not picked up for a full series.^[33]

See also

• List of American films of 1974
• List of films featuring surveillance
• Blow Out, a 1981 Brian De Palma film that is similar in content

References

Bibliography

• Berliner, Todd (2010). Hollywood Incoherent: Narration in Seventies Cinema. Austin: University of Texas Press. ISBN 978-0292739543.
• Ondaatje, Michael (2002). The Conversations: Walter Murch and the Art of Editing Film. London: Bloomsbury Publishing.
• Pramaggiore, Maria T.; Wallis, Tom (2005). Film: A Critical Introduction. London: Laurence King Publishing. ISBN 1856694429. OCLC 441674918. Archived from the original on April 20, 2022. Retrieved May 22, 2017 – via Google Books.

External links

Wikiquote has quotations related to The Conversation.

• The Conversation essay by Peter Keough at National Film Registry
• The Conversation essay by Daniel Eagan in America's Film Legacy: The Authoritative Guide-to the Landmark Movies in the National Film Registry, A&C Black, 2010 ISBN 0826429777, pages 704-705
• The Conversation at Rotten Tomatoes
• The Conversation at IMDb
• The Conversation at the TCM Movie Database
• The Conversation at AllMovie
• The Conversation at Metacritic
• The Conversation at Box Office Mojo