The Conversation – Francis Ford Coppola

“What do you mean?” is a frequent question in our conversations because communication is not in the words uttered but mostly in the ones remained unspoken, isn’t it?

Someone said that good movies are about what is not printed on the celluloid film and I tend to believe is true. Yet, I don’t think a good conversation involves the same thing, because 50 percent of the time we spend communicating we’re actually trying to clarify what we said in the first place. And when we have a so called serious talk the percentage gets bigger and all becomes boring and frustrating.

When it comes to small talk, really understanding what the other one is talking about is irrelevant therefore relaxing. Here the most important thing is to keep it rolling and growing. That is why small talk is such a hit. It functions like slapstick comedy, a pie fight where the number of pies thrown are more important than the ones that hit you. No one actually bothers if someone unloads a pile of BS because we’re all there to unload the BS and leave it on the bottom of empty liquid containers.

So understanding the exact meaning of the words we hear seems a hard or useless task.

But what happens when we overhear a conversation? The fog cannot be thicker.

And when you overhear a conversation about murder cannot be but The Conversation by Francis Ford Coppola. The opening scene is extraordinary containing the most beautifully photographed single shot I have ever seen. The cinematographer Haskel Wexler was replaced and the rest of the scenes were entirely re-shot except this one. The credited cinematographer, Bill Butler, managed to deliver the unforgettable and unsettling final scene. The ones between are definitely worth seeing too! And the essence of the story is not printed on the celluloid.

And yes, this review is not even remotely about what it contains.

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