Plot Summary:Harry Caul is a devout Catholic and a lover of jazz music who plays his saxophone while listening to his jazz records. He is a San Francisco-based electronic surveillance expert who owns and operates his own small surveillance business. He is renowned within the profession as being the best, one who designs and constructs his own surveillance equipment. He is an intensely private and solitary man in both his personal and professional life, which especially irks Stan, his business associate who often feels shut out of what is happening with their work. This privacy, which includes not letting anyone into his apartment and always telephoning his clients from pay phones is, in part, intended to control what happens around him. His and Stan's latest job (a difficult one) is to record the private discussion of a young couple meeting in crowded and noisy Union Square. The arrangement with his client, known only to him as "the director", is to provide the audio recording of the discussion and photographs of the couple directly to him alone in return for payment. Based on circumstances with the director's assistant, Martin Stett, and what Harry ultimately hears on the recording, Harry believes that the lives of the young couple are in jeopardy. Harry used to be detached from what he recorded, but is now concerned ever since the deaths of three people that were the direct result of a previous audio recording he made for another job. Harry not only has to decide if he will turn the recording over to the director, but also if he will try and save the couple's lives using information from the recording. As Harry goes on a quest to find out what exactly is happening on this case, he finds himself in the middle of his worst nightmare.
一条录音带引发的血案，科波拉把这一个简单的故事给掰开揉碎以后，电影对当时美国社会辛辣的讽刺，人性的复杂探讨以及科波拉娴熟的镜头语言应用都是这个简单的故事散发着特别的魅力。1972年，美国“水门事件”曝光，并在美国社会持续发酵。在这一背景下《对话》这一看似不真实的故事却具有了很强的批判性与讽刺意味。影片虽不是直接表现“水门事件”但是从莫伦的言语中的旁敲侧击，我们可以很轻易的觉察到故事的针对性。
科波拉
在无声下强有力的场面调度/走进人物内心的模糊场景刻画/录音声带动着人物情绪驱动着剧情发展/对人性的失望和对宗教信仰的讽刺。“你凝视深渊的时候，深渊也在凝视着你”可未免过于冗长，有些地方完全没有必要出现，杂碎太多。跟《教父》和《现代启示录》比起来还是弱了些。好在最后的二十分钟没有让人失望。
音乐好听，利用小跨度音程呈现在城市里无居所的漫游者，窃听者与被窃听的身份对换，给人的感觉比另几部还要好。
最后的大反转绝了，尤其是在女儿看到老人发出无比善良感慨的对比之下，真正的结局才更让人拍案
剧情精巧，稍显沉闷。
重看。原谅之前的我有眼无珠。声音的处理惊为天人，和画面相互疏离的同时并列出另一条情绪叙事线索，如此成绩，影史恐为首席。而科波拉对场景的解析和重新搭建也在本片中展露无遗，靠着对美国传统的熟识加以反叛，大量略去剪辑的镜头和场景调换流畅如斯，开头剪辑之精彩不亚于罗伊格《威尼斯疑魂》，不过，科波拉最喧宾夺主的是声音（窃听和真实的对立）而罗伊格，是色彩（先验性的危机知晓）
四星
看到后面脊背发凉的一部电影，电影走进了窃听者的心理世界，尤其是这是位有良知的人，做这行不过是求财，谁知道他所提供的信息会害死人。最后的高潮结束，出现男人坐在一堆拆毁过的房间内吹萨克斯，孤独与寂寞，内心的不安与不信任从他的身影里冒出来。
跟【追随】有点异曲同工。开头广场的长镜头，跟结尾拆家的镜头很赞。我猜窃听器是电话，就是他对手发明的那个吧？但要吹个口琴感觉有点傻。
属于结尾把立意提升好几个档次的电影。同一段录音听再多遍也摆脱不了欺骗，同一把萨克斯吹的再凄惶也逃离不出虚无。
以为自己是上帝视角，其实只是芸芸众生
NEW HOLLYWOOD YYDS 依旧对此风格不能自拔
凝视的不在，反过来凝视着主体
3.50
慢吞吞的，但是纠结和恐惧都很抓人，音乐太美了
拍摄手法很棒，配乐加上画面，很好的将主人公的矛盾、愧疚、接近崩溃的心理给展现出来，前面用了大段看起来毫无方向的剧情，最后的反转来的挺不错
还不错，需要耐心才能看到的好片
比较沉闷但不失精彩
抓人、精彩的心理博弈，配乐非常令人难忘，能够完美地烘托出氛围。四星。
有隐喻，有暗示，音乐不错，整个电影让人急躁不安，但是太闷，故事讲的也慢，观影体验不好
卫生间的冲水镜头惊到了。