63/100 (Blow up filminin ideasını çalması, gizem katmak için gereksiz yere filmi karmaşıklığa sürüklemesi ve kendini tekrar etmesi büyük sıkıntı. Ha bunların dışında sorun yok gibi evet doğru ama kesinlikle ederi bu puanlar değil. Sinematografi, oyunculuklar, müzikler ve filmin sonu şahane ama sadece bu kadar. Benzeri Das Leben Der Anderen bundan on kat daha iyi. Abartanlara hatırlatmak istedim..)
A fascinatingly inverted morality play with ambiguous and fragmentary notions of privacy, guilt and (for this period, almost obligatory) paranoia. No straight road to Damascus here with Hackman excelling in a shiftily nuanced and torn role. Shire's alternately naggingly riffy piano theme and dissonant musique concrete superbly underscore the bluey-grey visual palette in a (thrillingly) locked mise-en-scene.
Une oeuvre exceptionnelle, d'un pessimisme radical qui dévoile les méandres et les dangers d'un monde obscur et souterrain entre paranoïa et Kafka, voyeurisme auditif et sournoise manipulation qui malheureusement n'a absolument rien de fictionnel... www.cinefiches.com
3-4. I was surprised that the bulk of the conflict comes from the way the protagonist interacts with the people around him (friends, lovers, etc.) and himself as opposed to having been generated by the spy plot the movie is centered around. I think that's what makes it a stronger movie than 'Blow-up' at a basic level. Antonioni's movie just sort of bends to its own worldview without a whole lot of consequences.
Artsy thriller that keeps it's integrity throughout and ends on a superbly filmed and provocative note. Successfully balancing both personal and socially engaged topics, the film is predominately a visual and acoustic experience, which might prove to be somewhat stingy on character developments and slow to reach some obvious conclusions in it's case of moral vs. practical.
What a riveting piece of Cold War paranoia this is. I've seen it twice and the first time was nice but a little underwhelming. The second time I analyzed it for a paper and it really struck me. It's a shame this gets overshadowed by the Godfather trilogy and Apocalypse now. It really is an essential work in the oeuvre of Coppola.
Has many good ideas but is synthetic in its presentation to be arch in its themes and story, spoonfeeding its metaphors and themes down your throat repetitively and with great boredom. The Conversation tries too hard to say something important-- and while it certainly does-- it also forgets to just tell an intriguing story. Thus, it makes one feel alienated and emotionally detached. Strong ideas, but uninviting.
A slow methodical film that peals aways the layers of the story one by one, entrancing the viewer further until the final act which blows you away. Another example of why the 70s was the last great decade of American cinema. This is high art, and Hackman and Coppola are at the top of their respective games, making this one of the greatest films ever made.