A New York City doctor, who is married to an art curator, pushes himself on a harrowing and dangerous night-long odyssey of sexual and moral discovery after his wife admits that she once almost cheated on him.
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.
Mourning his dead child, a haunted Vietnam vet attempts to discover his past while suffering from a severe case of disassociation. To do so, he must decipher reality and life from his own dreams, delusion, and perception of death.
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
Gene Hackman was a fit, good-looking relatively young man when Francis Ford Coppola cast him as Harry Caul. In order to personify Harry's weary, aging, and unhappy existence, Hackman grew a pathetic-looking mustache, wore ill-fitting glasses, and had a wardrobe picked out that was at least 10 years out of date. Coppola specifically told Hackman he wanted Harry to look like a "nudnik", a Yiddish word referring to a person who is boring and a pest. See more »
When Caul (escorted by Martin Stett) boards the elevator following a meeting with The Director, Caul holds the door open in order to complete an exchange (with Stett). Yet in the last shot of that sequence, it's Stett who's holding the door. 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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"The Conversation" is a really great movie. I was quite surprised when I saw it. Not at how good it was, but how few people have seen it or heard of it. This is a classic suspense thriller, and a terrifying psychological horror film! From the opening credits, I, like the characters, was unsure of where I was going, or what the opening conversation (which is what the entire film is built around) might lead to. It seemed so unusually powerful, despite its masterfully simplistic execution. There is no overkill or excess in this film, nor is it under written or underplayed. It's just perfect! And I was even more surprised at how little was shown, and how much it could engross or frighten the hell out of me! My heart was racing, even though there was little action! This is the kind of film Alfred Hitchcock would have been proud to direct. The direction went to another master instead, Francis Ford Coppola. I felt ahead of the movie at its opening credits. But then, it blasted me and got miles ahead of me. It is an attack on our psyche and our fear, and it's amazing how, like the film itself, the conversation in the film that seemed so small and irrational could lead to something as big as it did!
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