Francis Ford Coppola in Conversational Mode

DATELINE: Eavesdroppers

  Pouty Harrison Takes on Hackman

In 1974 between his Godfather epics, Coppola tackled the high-tech tale of a wire-tapper who is tapped out. He wrote and directed this intriguing suspense drama. You know the Coppola tag will build this to a daunting climax.

The Conversation seems a throwaway but may be a perfect metaphor for the upcoming technological invasion of privacy that the 21stcentury and Internet will dump on us.

Gene Hackman is a suffering paranoid who seems to enjoy eavesdropping less and less each day. When he discovers that his work may be even dirtier than usual with murder in mind, he seems to be struck with a conscience.

When you subtract all the outmoded surveillance equipment from the movie, you have something so quaint as to be primitive by today’s digital standards. You may rightfully worry that things are a lot worse nowadays.

You may laugh at the spooling tapes and wonder how they could do any job effectively.

As a film, the story is microscopic as befits the nosy nature of small-time detective work. Yet, nothing transcends the basic fright of murder under your nose.

The Coppola cast is more than right: he has collected some of his favorite people and found others right before they made it big on TV/and movies. You will see a baby-faced Harrison Ford, a young girlish Teri Garr, a pretty victim in Cindi Williams without Laverne. Frederic Forrest is a callow-looking adulterer. Slippery John Cazale is always a Coppola staple and acts as a supporting, underappreciated wiretapper here too.

One of Coppola’s favorite actors makes a cameo as the corporate villain.

They are all secondary to the mid-life crisis that cannot be better epitomized than Gene Hackman at the pinnacle of his Everyman person.

The business means that you cannot trust anyone, professionally or personally. And, there is good reason to be suspicious when large amounts of money is paid for information.

 

 

 

Hello Dali!

DATELINE:  Little Ashes.

dali & lorca  Sur-Real Dali & Lorca!

No one can say Robert Pattinson is not a courageous actor. His 2009 performance in Little Ashes as Salvatore Dali in his youth was gutsy and properly over-the-top.

A lesser actor might have underplayed Dali’s growth as a non-conformist, but Pattinson has never flinched from wide-eyed brazen acting. He has particularly liked escaping the awful roots of vampires by giving portraits of notable famous people in docudrama.

Of course, this film is not just about Dali’s genesis. It deals with Luis Bunuel and Frederico Garcia Lorca. Javier Beltran is nearly a spitting image of the real Lorca, as cast by director Paul Morrison.

It is hard to believe they were all college frat chums, life-of-party types, and budding genius artists. Javier Beltran plays Lorca who was a well-known gay poet and playwright. You might say Dali and Lorca had some kind of gay love affair, but that would not be exactly correct. These artists lived on another planet.

Indeed, the approach/avoidance of Dali and his self-centeredness drives a wedge between them. Id his own insane style, Dali likely  was in love with Lorca, but his “divine” madness rent it apart.

Bunuel and Dali ridiculed Lorca with the film called Andalusian Dog, which also was a wedge of straights against gay. They also dismissed politics for artistic expression. By 1930 they were rich, and Lorca was doomed to be repressed and murdered by Franco  thugs in Spain.

The ultimate madness of Dali upon hearing of Lorca’s death is muted by the fact that he was already around the bend. This is a most unusual movie.