The topics explored in “The Conversation” are even more critical in 2020 than they were in 1974
IN 1974 A film directed by Francis Ford Coppola captured a rising national mood. It took the Grand Prix at the Cannes Film Festival, and was nominated for several Academy Awards, including Best Picture. It did not, however, win that prize: it lost out to “The Godfather: Part II”, also directed by Mr Coppola.
A new 35mm print due to be released in America this month will give viewers another chance to appreciate the film. It is accompanied by a remastered soundscape, vital in a work in which sound is particularly vital to the atmosphere and the action. Everything hinges upon “The Conversation” of the movie’s title, which takes place between two people walking around San Francisco’s busy Union Square, and is recorded by a professional snooper, Harry Caul .
“The Conversation” was never intended to be a political statement. The corruption it deals with is a blend of the personal and the corporate; one of its key themes is the difference between listening and hearing. Caul, an awkward, intensely private loner who lives by violating the privacy of others, is matchless at listening; he can pull sound out of anywhere. What he lacks is an aptitude for hearing what is really being said. He pronounces this a professional virtue.
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