Ein Hauch von Sinnlichkeit

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.

While I appreciate the previous person's comments, this is not a great movie. It's a movie about jealousy and possession, and haven't we all seen too many movies about that? (Lifetime channel, anyone?) Watch this movie if, for no other reason, to see Anouk Aimee and Omar Sharif at their most beautiful. O.K., so Anouk's character is rather vapid and insipid. Who CARES? Anouk is a world-class beauty (as she STILL is; see "Festival in Cannes"[2001]) and as feminine as feminine gets. And Omar's EYES in this movie! Wow! You could easily drown in the mysterious dunes of the Sahara just staring at those Egyptian eyes! So, see it for the eye candy. And, no, I'm not ashamed. I like eye candy.

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!

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.