The Appointment

while clicking around impatiently for something watchable on satellite t.v., i was instantly mesmerized by the wonderful camera work and haunting look of this quiet film. i was further impressed by the way the director , lumet, managed to make Rome, Italy ,look so deserted and depressing, even in the middle of a crowded street. i am not a huge OMar Sharif fan, but he is certainly believable as this cruel, obsessed husband who wants to keep his gorgeous ex-model wife (Anouk Amie) locked away from the world , w/permission to live only in his company. As the doomed beauty , Anouk Aimee is perfect as the almost bland wife that unwillingly is slowly overwhelmed by her controlling husband. A tragic , but unfortunately true portrait of human defects left unchecked. The films' overall feel and look of a haunted mind makes it compelling to watch , and immediately after-wards went to my computer to research the name of the "european' director. i was pleasantly surprised by Mr.Sidney Lumets' name, and film.

Drawn into the movie for the sheer enjoyment of watching Sharif - I became immediately swept up in it. Viewers are coaxed gently into the storyline, and it succeeds in drawing you in as you yearn for more. There is a subtle quality of this film that resonates. What is not said with dialog becomes even more important than the actual conversations. We long to know what is behind those eyes, both of theirs - the hurt, the desire, the fear. The film works, in stumbling ways at times, but overall it is memorable, thought provoking and well done. I absolutely loved it, flaws and all. Sharif was well cast, his performance was brilliantly restrained, he held back and became a very believable character. His eyes are so amazing, and so important to see the heart of this character. Aimee is of course lovely, and her Carla is a tortured beautiful soul. I felt both actors were well matched and their seemingly awkward tendencies together made them all the more real. I look forward to watching it again to uncover more of it's intricate layers. Bravo!

Considering the film was made in 1969, the film is interesting in its approach to subjects, camerawork, acting, etc. Lumet being an American was making a European film in style and content. Some of the camerawork along the streets of Rome reminds you of Boorman's "Point Blank" (1967) or Goddard's "Alphaville" (1965). It has a pointless helicopter shot of the lovers in embrace in an open field which six years later was used with great elan by Arthur Penn in another existential story "Night Moves" as the final shot in that movie. The film has no semblance to the typical Hollywood cinema of late sixties; it is closer to European cinema which Boorman was able to capture quite effectively with existential dilemmas presented on screen. Lumet went on to make much more memorable films, one of which was "Equus".

The story of a doubting lover, a jealous husband has been presented on screen several times. It is an Othello story retold. Omar Sharif's lead role appears plausible but he seems to overdo every detail. His cigarette smoking scene was meant to be a picture of nervousness--yet he is rarely seen smoking during the course of the film. Lumet seems to overlook details. Or is he teasing you?

Anouk Aimee is great to watch because she is so good looking not because she acts well--at least she is not convincing in this film. What is her relationship with the young man on the island? Lumet makes us wonder with the meaningful shot of the man's face on the second trip of the couple to the island. We are left guessing about Aimee's true character even after the end. Everything is open ended, except for the Othello-like lead character. Probably this was the reason for the film being nominated for the Golden Palm at Cannes. Lumet succeeds in fleshing out the male character, but fumbles with the female lead character. Perhaps it was his intention to leave us guessing.

The film remains a puzzle, a good effort that pales in comparison to Lumet's better works like "Equus", "12 Angry Men" and "the Verdict".

Frederico Fendi (Omar Sharif) is a successful middle-aged Italian lawyer although he's a lonely stiff who is very close to his mother. He sees Carla (Anouk Aimée) on the streets and becomes immediately obsessed. She's engaged to a school acquaintance.

This is directed by Sidney Lumet. Maybe he's trying for an Euro relationship psychological thriller. The story starts with a weird coincidence which led me down some wrong paths. Sometimes a coincidence is just a coincidence although that could indicate bad writing. It is a bit slow. I kept waiting for the other shoe to drop. At least, this has Omar Sharif, but that's not enough.

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 ****