I did not want to wait another day and not attempt to write a review since seeing 1969's "The Appointment" about four weeks ago. It was director Sidney Lumet's "European" film starring at the height of their cinematic charisma and appeal Omar Sharif (big enough box office due to "Doctor Zhivago" (1965) and Anouk Aimee (a Best Actress nominee in 1965 for "A Man and a Woman"). While the movie may be very obvious, it leaves one as an enigmatic, and strangely, miscalculated masterpiece. The rather straightforward, simple script by James Salter about a man who becomes obsessed with his wife's fidelity, is still as puzzling as a Chinese box. The fact that MGM, who did not have any faith in the film acquiring any successful word of mouth upon release, which I find in my opinion to be rather obvious that it very well could have achieved success rather than not gaining much of a release at all, although Lumet received a Palme d'Or nomination at Cannes, which today on that strength with audiences for film now the releasing studio would have felt much more guaranteed a strong theatrical release. And to rip out one of John Barry's (with Don Walker) most inspired and right on the mark themes and music scores (when shown on television it was replaced with a rock score by Stu Phillips) shows the ultimately perplexing hypocrisy of the film business always being re-cycled as an art form. The editing (Thelma Connell), photography (Carlo di Palma) and acting is all superb. Definitely deserves to be seen and not regarded as some kind of dreadful misfire which is certainly is by the hands of those responsible for suppressing such a beautiful film. In Metrocolor, produced by Martin Poll. Knowing of the injustices committed against this film's chance for success and acclaim, if you are faced with the prospect of seeing it, do not put it off.
Review of The Appointment
