Le rendez-vous

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.

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."

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 ****

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!