The lawyer Federico Fendi has reasons to believe that his wife Carla in secret is Rome's highest paid prostitute.

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Writers:

(story) (as Leonviola), (screenplay)
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Cast

Cast overview, first billed only:
...
Federico Fendi
...
Carla
Didi Perego ...
Nanny
Fausto Tozzi ...
Renzo
...
Fabre (as Luigi Proietti)
Paola Barbara ...
Mother
Inna Alexeievna ...
Old woman on train (as Inna Alexeieff)
Ennio Balbo ...
Ugo Perino
Daniela Calvino
Ermelinda De Felice ...
Fishmonger's Wife (as Linda De Felice)
Angelo Infanti ...
Antonio
Serena Michelotti ...
Lucia
Monica Pardo ...
Olghina
Rodolfo Valadier
...
Emma Valadier
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Storyline

The lawyer Federico Fendi has reasons to believe that his wife Carla in secret is Rome's highest paid prostitute.

Plot Summary | Add Synopsis

Genres:

Drama | Romance

Certificate:

R | See all certifications »
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Details

Country:

Language:

Release Date:

23 May 1969 (West Germany)  »

Also Known As:

A találka  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

Color:

(Metrocolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Michel Legrand composed the first score for this film, but it was rejected in favor of a score by John Barry, aided by Don Walker. When it was first aired on U.S. television, the CBS network had Barry and Walker's score replaced with a completely new score by Stu Phillips. Only the music by Barry and Walker is heard on the film today. See more »

Connections

Referenced in Lionpower from MGM (1967) See more »

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User Reviews

An interesting failure
13 April 2003 | by (Brick, NJ) – See all my reviews

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."


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