The Conversation

In between making two of the most heralded films of all time in 1972 and 1974, writer/director Francis Ford Coppola made another film. That film won the Palme d’Or at Cannes and was nominated for three Academy Awards including Best Picture. That film was The Conversation. A taught psychological thriller, The Conversation isn’t as grand in scale or as epic in scope at The Godfather movies by which it is sandwiched but it’s a deeply intriguing look inside the world of audio espionage and the consequences of it. Gene Hackman leads a terrific cast as Harry Caul, a surveillance expert who has second thoughts about handing in his latest recordings for fear that those he has recorded will be killed, a repeat of a previous job which still haunts him years later.

The film opens onto a magnificent scene which forms the basis of the whole movie. Initially shot from high up on a rooftop the camera details a large plaza in which hundreds of people are milling about, talking and eating lunch, people watching or simply passing through. The shot is alive with detail and beautifully constructed but as the camera slowly zooms in you begin to focus your attention on a mime. Eventually the mime starts to copy a man drinking a cup of coffee. That man is Harry Caul (Hackman). Caul is in the plaza spying a young couple who are slowly circling, deep in conversation. Once at ground level the camera cuts to several other angles, showing the other members of Caul’s team hard at work, attempting to record the conversation. I have seen few better opening sequences than the one detailed above. It’s slow to build, intriguing, interesting and opens up several possibilities for how to proceed.

Young Frankenstein

When people look back at the films they remember fondly from their childhood, they often remember them through rose tinted spectacles. When I saw The Lion King last year and rated it 6/10 I was given disapproving looks from those who saw it when they were children. One of the films I remember fondly from my childhood is Young Frankenstein. I saw it several times when I was young as it was one of the few VHS movies my parents owned at the time. I haven’t seen the film for about thirteen or so years and while I remembered lots of it, there was much which I’d forgotten or had gone over my head as a child. I’m able to appreciate the film more as an adult and understand the subtle performance of Marty Feldman, get more of the horror in jokes and laugh at the racier stuff which was once lost on me. Young Frankenstein isn’t as good as I remembered, it’s better.

The film came about after an idea Gene Wilder had while filming Blazing Saddles with Mel Brooks. Wilder thought that it would be funny to create a distant relative of the Frankenstein family who wanted nothing to do with the rest of the family and their infamous experiments. The film was put into production shortly after Saddles wrapped and the plot took from the early Frankenstein movies of the 1930s as well as borrowed affectionately from the horror genre and classic comedy. Dr. Fredrick Frankenstein (Wilder) is a brilliant American physician/lecturer who discovers that he has inherited the family’s old world estate. He travels to Transylvania where his grandfather’s experiments get the better of his curious mind.

Close Encounters of the Third Kind

Steven Spielberg’s 1977 Science Fiction drama remains today one of the most highly decorated and successful Sci-Fi films of all time, garnering eight Oscar nominations and two wins for cinematography and sound editing. The film was also nominated for nine BAFTAS and four Golden Globes. I’d been looking forward to seeing it for a long time and when I noticed it was on offer on Blu-Ray at HMV I jumped at the chance to buy it. As is often the case when you hear so much positivity about a film before you see it, Close Encounters didn’t live up to my expectations but is still a very good film with obvious influences on the last thirty-five years of Science Fiction.

While investigating a large scale power cut, electrician Roy Neary (Richard Dreyfuss) has a close encounter with what appears to be a UFO. As he follows the flashing lights in the sky he comes across others who have spotted the phenomenon including single mother Jillian (Melinda Dillon) and her young son Barry. Their claims are met with scepticism but neither can get the image of a mountain out of their head and when they discover what the image is, feel uncontrollably drawn towards it. Meanwhile Scientists are working on linguistic and musical possibilities in case aliens ever make themselves known to humanity.