Le rendez-vous

Buttoned-up divorce lawyer in Italy, still living part-time with Mom, spies a smoky beauty on the streets just outside of Gucci, cuing composer John Barry to drum up an intensely romantic theme in the background. These two are obviously destined to meet--but she may have an impure past which prevents well-intentioned men from marrying her. Movies such as "The Appointment" are easy targets for critics looking for something to ridicule. By natural law, most conversations between budding lovers are silly, and here (when Omar Sharif explains the mating habits of turtles to an amused Anouk Aimée) you can almost hear the cackling from the balcony. The stars make for a terrifically photogenic couple, and the Italian backgrounds are ravishing, but the central theme of romantic obsession, possessiveness, and destructive jealousy is so intensely drawn that it may elicit giggles from viewers instead of emotion. Omar Sharif gives his standard wet-eyed performance, yet this is an unusually complex man--not a replay of Zhivago--and Sharif captures the nervously boyish tics and overeager longings of the character quite ably. Similarly, the material is an unusual change-of-pace for the director, Sidney Lumet (in uncharacteristically subdued spirits); Lumet pulls off a few audacious moments here, however some of his attributes (such as an elaborate helicopter shot of the lovers in a grassy field) call attention to themselves for no other reason than to be artsy. The slow, steady pacing may turn distracted viewers off, yet this is an oddly beguiling cinematic experience: fantastic, unsentimental actually, and not so removed from the truth. Lumet's heart wants to flutter in the winds, yet he keeps his feet on the ground, resulting in a thoughtful downer. *** from ****

Anyone familiar with Sidney Lumet's best work (Serpico, Dog Day Afternoon, Network, etc.) will know of his meticulous attention to character depth and plot detail. The Appointment has none of this. Rather than tell a story, Lumet instead takes his shot at making a stylish Europeanish sort of art film complete with sullen close-ups, high-angle shots and carefully constructed compositions- perhaps just to see if he could do it. Some of it comes off rather well- I liked the longshot of Omar Sharif trudging dutifully away down a hospital corridor while two nuns hurry in the other direction, and a sequence at a fashion show that features a cluster of models dashing in and out in various costume changes and hair styles including one in the flapping and swaying of butterflies is almost worthy of Fellini. Almost. On the other hand, a shot of the two lovers in a field pulled back and upward into the high distance until the couple is drowned out by the island they're on goes on too long and is less effective. I wonder what Lumet is trying to accomplish there by obscuring the lovers and placing the entirety of the island squarely within the picture frame.

There is very little dialogue in the film; everything is inferred and gently disturbing. I think Sharif and Anouk Aimee are fine in their roles, but what is a little off-putting is the coldness and sterility of the affair and their movements, even during passionate scenes. When the tragic moment occured toward the end, I felt nothing. I give Lumet an A for effort and I must admit I was fascinated by the whole thing but fascination doesn't neccessarily equal enjoyment. This movie puts me in mind of Woody Allen's Interiors for all its emotional distance. And as Woody himself once said about Interiors, "it's an interesting failure."

This film is very difficult to see, but I managed to on TCM and was glad I did. Not that its all that good, but I found it worthwhile just because it was so very unusual for its director. Like others have commented, if you saw this with no knowledge who made it, I don't believe anyone would be able to guess Sidney Lumet was the director. This is a completely European film in style and content. Some beautiful cinematography and lovely Italian locations are the main recommendations, also a supporting performance by Lotte Lenya as a procuress. Her character is not all that evil, despite her admission that she was a fascist and supporter of Mussolini, but no other actress could so effortlessly bring a touch of the sinister than Lenya did just by showing up. The main problem with Sharif and Aimee is that, other than not being the most expressive of actors (though they sure look good), their characters just plain do not act like real people would - they both seem damaged and the screenplay makes them behave in ways that make one long to slap them both. Still, I enjoyed the leisurely pace and 60's fashions and ambiance enough to be glad of the opportunity to see this warped love story.

...this movie deserves a DVD release. I saw it on TV(missed the opening credits) years ago and years after its theatrical release. I had to call a friend to find out who this "European" director was. Surprise--Lumet? Still, I found the ambiguities and open-endedness intriguing. Glacial pacing? Bad acting? I've seen worse. Cinematography and narrative arc were unusual for an American director. The beautiful Anouk Aimée is always eminently watchable and for that alone we should be able to watch this again. Anyone out there have the wherewithal to get this out on DVD? I'm sure others would like to give this one another go and reconsider their opinions.

In my opinion, this film is highly underestimated. This is a very well shot film on beautiful locations. It is as if Antonioni was it's photographer. And another comparison: Stanley Kubrick made 'Eyes wide shut'a few years back (also underestimated, als usual with his films), but 'the Appointment' definitely has the same intensity, mystery and erotic tension as 'Eyes wide shut'. Both films are so quiet and intense, I only wish there were more films like this.