[The Conversation calls strongly to mind] Antonioni's 1966 film, Blow-Up. Though this is most obvious in the actual "blow-up" (i.e., tape-deciphering) sequence itself, the resemblance extends from the painterly look of the film (some of the shots in Harry's apartment have an almost Vermeer-like quality of sculptured light) to such small details as the appearance of a mime in the opening sequence who seems to constitute a quite pointed reference to the mimes whose appearances bracket the action of the Antonioni film. Indeed, the resemblance extends even to the overall design of the two films: in both, a protagonist, through some means of mechanical reproduction, uncovers a mystery, and in both an ambiguous mystery-thriller plot is used to get at something beyond the thriller's conventions.
It's here, however, that the flaws of the Coppola film begin to reveal themselves. For whatever one may justly say about Blow-Up's superficiality, in it, the mystery plot is perfectly geared to the film's meaning. (p. 63)
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