The lead character's faulty memory is, I think, sort of a visual equivalent to Gene Hackman's mistaken aural interpretation in The Conversation- he's convinced things happened one way, and they mislead him into coming to the wrong conclusions.
Anyone have any thoughts on it?
Charm: "The power or quality of pleasing or delighting"
I THOUGHT THIS WAS AN INTERESTING OBSERVATION OH WELL
"You get tired of your own obsessions, the betrayals, the voyeurism, the twisted sexuality"
Yes, that is an interesting point. Both films pull it off effectively. But for the record, this one came first...
shareOh, I know that. And I'm not really saying that Coppola ripped it off. I just think they make an interesting comparison.
Thanks for replying.
"You get tired of your own obsessions, the betrayals, the voyeurism, the twisted sexuality"
Both films take liberal inspiration from the film Blowup (1966), which has a similar moment where the lead character realises something he experienced earlier wasn't what it seemed.
shareYes, but typically for Antonioni, this idea is not nearly as explicit in Blowup. Basically, Hemmings thinks he's seen a murder, but neither he nor the audience ever finds out what really happened!
What's the Spanish for drunken bum?
I was going to mention Blowup too; but I also recommend The Ear, a Czech movie about a party member discovering that his house is bugged; I think that movie was a more direct influence on The Conversation.
This world is a comedy to those that think, a tragedy to those that feel.
This occurred to me partway through the movie, the similarity to the conversation. At that point, I couldn't be sure as I suspected the killer's identity, but had no way to know.
"No man is just a number"
The Bird With the Crystal Plumage has photography by Vittorio Storaro, who worked on Apocalypse Now.
shareThe minute the twist was revealed I thought immediately of "The Conversation" as well.
shareI feel cheated by both, though mre so by conversation whichactually changed the reording to place emphasis on a different word in the end. Here too what we;re expected to believe in regard to his memory eems implaubile. Good film nonetheless
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I agree. Unlike Deep Red, in this movie I think Argento cheated. You don't see her actually holding the knife in the beginning of the movie as you do later in the film during the flashback sequence. What you do see in the beginning is the top blade of the knife and her smiling face. Although that does give the killer away somewhat, I believe Argento should've been consistent in what is shown at the beginning and during the flashback. Either show the scene where she's holding the knife in both (at the beginning and during the flashback), or during the flashback show the scene where she's smiling while the tip of the knife is shown & have the protagonist say something along the lines, "...you were smiling...a true victim doesn't smile when she's about to be attacked, unless she's the attacker or someone deranged and unhinged...!"
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