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Slowly, the camera zooms closer and picks out a young, white-faced Mime (Robert Shields), dressed in a black-and-white drum major's costume, who imitates and parodies unsuspecting bypassers.

A band of street musicians entertains in the park, playing "When the Red, Red Robin Comes Bob, Bob, Bobbin' Along" - the tune is mingled with other strange mechanical noises.

The film opens, under the credits, with a bird's-eye view of Union Square in downtown San Francisco during a busy lunch time on a sunny day in December [later identified as December 2nd, 1 PM].

Pedestrians, office workers on lunch break, and Christmas shoppers mingle together in the long view.

She moves closer to the street musicians on bongos, hoping that their chatter will be inaudible to anyone else. When he pushes open the door to his sparsely-furnished, scrupulously-anonymous abode, an alarm sounds. I thought I had the only key...well, what emergency could possibly..right, yes. Harry: I don't want people to ask me a lot of questions. She can no longer wait for him to share his sparse, detached, limited, secretive, and fiercely-independent life that he protects with the same expertise that he uses in his occupation: Harry: You never used to ask a lot of questions.

In the van, Paul speculates: "I got some good pieces, maybe 25 percent." When Stanley asks Harry about their operation, he flatly responds that he doesn't show curiosity, or care about and question what he is doing: Stanley: Who's interested in these two, anyway? Behind the door is a wrapped wine bottle - a birthday present. You see, I would be perfectly happy to have all my personal things burned up in a fire because I don't have anything personal. No, nothing personal except my keys, you see, which I really would like to have the only copy of, Mrs. While talking to her, he both removes his trousers and opens up a greeting card sent in the mail from his bank: "TO OUR VALUED CUSTOMER, Harry (handwritten), HAPPY BIRTHDAY.... Amy: Harry, I was so happy when you came over tonight.

It becomes increasingly clear that the target of surveillance, where the telescopic gunsight is aimed, is a young couple, later identified as Ann (Cindy Williams), a young pretty woman in her twenties, and a clean-cut, well-dressed company executive Mark (Frederic Forrest).In the 1974 Oscar competition, The Conversation competed for Best Picture with Coppola's own sequel The Godfather, Part II (1974).It had a total of three award nominations (without any wins): Best Picture, Best Original Screenplay, and Best Sound (Walter Murch and Arthur Rochester).Kenneth Sperry will speak on "Surveillance and the Law" - wait a minute, listen to this..attending will be William P. He's the guy that told Chrysler that Cadillac was getting rid of its fins. Ann: (spotting the derelict on the park bench) Oh look, that's terrible. At the base of the lit staircase inside the front lobby of the apartment building, he waits and listens - almost hiding like he is on a voyeuristic spy case, and then descends one flight of stairs to her apartment door. Get up, get up...", he becomes suspicious and tells her that "somebody else was singing that today." She asks questions about his job, where he lives, and how she can locate him - his uncomfortableness and irritation levels rise noticeably: Amy: Where do you work, Harry? Bored with Stanley's talk, Harry begins methodically sorting through the materials from the previous day's work. He stealthily approaches, quietly inserts his key, and opens her door. Sometimes you come over here and you don't tell me. You know, first the key goes in real quiet, and then the door comes open real fast, just like you think you're gonna catch me at something. Innocuously, Harry stands close to the couple as they join the group of spectators around the band.Another man named Paul (Michael Higgins), part of the eavesdropping team, with a hearing-aid wire and carrying a shopping bag with electronic recording devices inside a disguised gift package, also discreetly follows them to 'record' their conversation. Every time I see one of those old guys, I-I always think the same thing. Ann: I always think that he was once somebody's baby boy..he had a mother and a father who loved him. After the couple in the park kiss and depart, Harry leaves the van, removes his raincoat, and walks silently along the busy street to his apartment building.Notably, there were two against-type roles of young stars from Lucas' American Graffiti (1973): the philandering/murderous role of a socialite by Cindy Williams, and the duplicitous role of a corporate executive assistant by Harrison Ford.The marvelous sound work on the film was deserving of an Oscar for Best Sound for its effective sound-mixing of interdependent elements: taped conversations, muffled voices, background and other mechanically-generated noises, musical/piano accompaniment (Harry Caul's signature theme) and other ambient sounds.The haunted surveillance expert, who pursues a case (seemingly of marital infidelity) that demonstrates his rarified human emotion, discovers that he has become the victim of his own technological profession and intrigue by film's end.[His last name, 'caul', literally means the protective, embryonic membrane that sometimes covers the head of a child at birth.]After his phenomenal success with The Godfather (1972), Coppola's technically-brilliant, absorbing film was a critically-acclaimed work, but it failed at the box-office.

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