Having discovered that she is pregnant, Natalie Ravenna (Shirley Knight), a Long Island housewife panics and leaves home to see if she might just possibly have made something different out ... See full summary »
Hank and Frannie don't seem to be able to live together anymore. After a five-year relationship, lustful and dreamy Fanny leaves down-to-earth Hank on the anniversary of their relationship.... See full summary »
Bennie travels to Buenos Aires to find his long-missing older brother, a once-promising writer who is now a remnant of his former self. Bennie's discovery of his brother's near-finished play might hold the answer to understanding their shared past and renewing their bond.
Francis Ford Coppola
After a car wreck on the winding Mulholland Drive renders a woman amnesiac, she and a perky Hollywood-hopeful search for clues and answers across Los Angeles in a twisting venture beyond dreams and reality.
Harry Caul is a devout Catholic and a lover of jazz music who plays his saxophone while listening to his jazz records. He is a San Francisco-based electronic surveillance expert who owns and operates his own small surveillance business. He is renowned within the profession as being the best, one who designs and constructs his own surveillance equipment. He is an intensely private and solitary man in both his personal and professional life, which especially irks Stan, his business associate who often feels shut out of what is happening with their work. This privacy, which includes not letting anyone into his apartment and always telephoning his clients from pay phones, is in part intended to control what happens around him. His and Stan's latest job, a difficult one, is to record the private discussion of a young male/female couple meeting in crowded and noisy Union Square. The arrangement with his client, known only to him as "the director", is to provide the audio recording of the ... Written by
Harry Caul's home phone number is 415-863-1944. See more »
When Harry Caul is in the elevator, you see the woman come in and three buttons are pushed. After stopping on a floor, a cut back to the shot of the woman and only one button remains lit whereas two should still be lit. See more »
Well, I want to go over to my place and start, you know, getting it on...
Oh, that's terrible.
Yeah. Do you ever, uh... ballet?
Be thankful. Do you have a quarter for them?
Yes, I do.
[gives it to street band]
What about me?
A lot of fun you are. You're supposed to tease me, give hints, make me guess, you know.
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This is one of those films I'm glad I gave a second chance because it got much better, and has continued getting better with each viewing (I've now seen it four times).
I know a few other people who watch this and ask, "What's the big deal?" Well, do what I did and give it another chance. Here's a tip: put on the English subtitles. It helps understand what is going on, as the taped conversations are often difficult to discern. Then, you might discover what I did: a fascinating character study, one that did not bore me as it had on the first viewing.
It's the study of a paranoid loner who is suffering a guilty conscience over the work he has done over the years, and what tragic consequences could happen with the latest project he's involved with. Without giving anything away, the loner's fears are realized in a shocking ending, but not in the way he imagined.
Gene Hackman, as always, does a super job of acting. He dominates the film as the main character, "Harry Call." The topic matter - high-tech surveillance - was intriguing, too. After watching this film, I wondered what kind of surveillance tools are available now, 30 years after this film was made.
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