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An Almost Perfect Affair

An Almost Perfect Affair is a 1979 film directed by Michael Ritchie, starring as a young independent filmmaker attending the and as the wife of a prominent , with whom he begins a whirlwind romance amid the event's glamour and chaos. The story centers on Carradine's character, who travels to to promote his documentary about convicted murderer , only to have his film print confiscated; Vitti's elegant character, married to Raf Vallone's powerful mogul, intervenes to help recover it, sparking an intense affair that explores themes of art, sacrifice, and fleeting passion. Written by and Don Petersen, the film was produced by and features a runtime of 93 minutes, with many scenes authentically shot during the 1976 Cannes Film Festival, including cameo appearances by real industry figures of the era playing themselves. Upon its release on April 27, 1979, An Almost Perfect Affair received mixed reviews, praised for the charismatic performances of and Vitti and Ritchie's direction—known from films like and —but critiqued for choppy editing that undermined its comedic timing and satirical potential of the festival setting.

Synopsis

Plot

Hal Raymond, a young and idealistic American independent filmmaker, arrives at the 1978 Cannes Film Festival with his self-financed debut feature, a 16mm documentary titled Choice of Ending about the execution of convicted murderer . Struggling with festival bureaucracy, Hal faces an immediate setback when French customs confiscates his film print for lacking proper censor approval. At the same airport, Maria Barone, the elegant and sophisticated wife of prominent Italian Freddie Barone, encounters a similar issue when her pet , Mortimer, is detained by officials. Leveraging her connections in the , Maria arranges for the release of both the dog and Hal's film, leading to their chance encounter and initial spark of attraction. As the glamorous events of the festival unfold—including lavish parties and screenings—Hal and Maria's connection deepens into a passionate romantic affair. They share intimate secret meetings, leisurely bicycle rides along the Côte d'Azur, and a spontaneous weekend getaway to the picturesque countryside, where they debate the sacrifices of art versus love amid the Mediterranean backdrop. Their romance intensifies during a serene boat excursion on the sea, but complications arise when Freddie discovers the affair, sparking tense confrontations that threaten Hal's budding professional opportunities at the festival. Hal's film receives a title change to the more marketable Shoot Me Before I Kill Again courtesy of opportunistic deal-maker , a cynical Black filmmaker who becomes his unlikely promoter, highlighting the commercial underbelly of the industry. In the bittersweet resolution, and confront the realities of their respective lives—her unhappy and his Hollywood ambitions—leading to a tearful separation without long-term commitment. 's film garners minor recognition at the , offering a small victory amid reflections on the fleeting nature of romance in the illusory world of .

Themes and style

The central theme of An Almost Perfect Affair revolves around the "almost perfect" affair between an idealistic American filmmaker and a sophisticated , serving as a commentary on the transient and fragile nature of relationships amid the high-pressure environment of international cinema. This romance unfolds against the backdrop of the , highlighting how professional ambitions and fleeting encounters undermine emotional stability, with the lovers' connection ultimately strained by external realities rather than internal flaws. The film offers a satirical portrayal of the as a glamorous yet superficial arena dominated by deal-making, inflated egos, and the tension between illusions of artistic prestige and harsh commercial realities. Michael Ritchie critiques the industry's competitive rivalries and moral compromises, depicting opportunists and power players who prioritize personal gain over creative integrity, as exemplified by cynical quips like "Pussy comes in the door, art goes out the window." This pseudosatire exposes colonialist arrogance and corruption within the global film world without delving into deeply threatening territory, using cameos from real figures to blur the line between festival fantasy and insider truth. Ritchie's stylistic approach blends light with bittersweet undertones, employing location shooting on the to capture the festival's chaotic energy and contrasting its sunny, opulent visuals with the characters' underlying emotional turmoil. The film's choppy banter and rapid editing enhance the frenetic pace of industry life, while maintaining a modest, accessible tone that echoes Ritchie's satirical roots. Influenced by the 1970s movement, the picture embodies an independent spirit through its critique of commercial filmmaking pressures, reflecting Ritchie's broader examination of American competitive ethics in a more intimate, international setting. Subtle nods to Italian cinema appear through Monica Vitti's portrayal of an Italian producer's wife and former , emphasizing cultural clashes in romance that pit Mediterranean passion against American pragmatism. Vitti's presence, drawing from her Antonioni collaborations, infuses the role with a layered sensuality that underscores the film's exploration of cross-cultural illusions in love.

Cast and characters

Principal cast

Keith Carradine portrays Hal Raymond, an idealistic and earnest young independent filmmaker navigating the with his debut feature about executed murderer . His performance captures the character's scruffy enthusiasm and wide-eyed ambition, drawing on Carradine's established screen persona as a charismatic romantic lead, honed in Robert Altman's Nashville (1975), where he played a low-key folk singer irresistible to women. Carradine's chemistry with co-star infuses their affair with humor and tension, while his comedic timing shines in the festival's chaotic scenes, though slightly undermined by the film's choppy editing. Monica Vitti plays Maria Barone, the elegant yet frustrated wife of a powerful Italian film producer, whose poised exterior masks growing dissatisfaction with her glamorous but confining life. Renowned for her collaborations with in films like (1960) and (1961), where she excelled at conveying existential inner conflict through subtle expressions and body language, Vitti's role here marked a notable shift to English-language —only her second such project after (1966)—allowing her to blend sophistication with vulnerability in a lighter comedic context. Raf Vallone embodies Freddie Barone, the authoritative and jealous producer whose commanding presence dominates the industry's social whirl, modeled after figures like . A veteran of neorealist since the late , including standout roles in (1949) and Path of Hope (1950), Vallone brings a seasoned gravitas and spirited charm to the part, enhancing its satirical edge despite limited screen time.

Supporting roles

Christian De Sica portrays Carlo Barone, the dim-witted son of film producer Federico Barone, serving as through his bumbling antics amid the high-stakes festival environment. As Freddie's assistant, Carlo's ineptitude heightens the satirical take on industry insiders, often stumbling through tasks that underscore the chaos of deal-making. De Sica, the son of acclaimed Italian director , brings a layer of cinematic heritage to the role, marking an early international appearance in his career. Dick Anthony Williams plays Andrew Jackson, a sharp-witted whose humorous rebranding of Hal Raymond's film from "Choice of Ending" to "Shoot Me Before I Kill Again" pokes fun at Hollywood's and marketing excesses. His brief but memorable scenes contribute to the film's multicultural ensemble, reflecting the diverse array of filmmakers and personalities converging at the festival. Henri Garcin appears as Lieutenant Montand, a official whose interactions with the protagonists add procedural tension and cultural friction to the subplots. as Amy Zon provides grounded support in the contingent, helping to navigate the whirlwind of alliances and rivalries. The supporting ensemble, including these performers, captures the vibrant, chaotic essence of the through their distinct cultural perspectives and pivotal cameos, enhancing the film's satirical portrait of the global film industry's glamour and absurdity without overshadowing the central romance.

Production

Development

The conception of An Almost Perfect Affair stemmed from director Michael Ritchie's interest in satirizing the film industry, particularly the Cannes Film Festival, drawing inspiration from real-life experiences of filmmakers navigating its cultural and commercial dynamics. Ritchie was influenced by George Lucas's encounters while screening THX 1138 at the 1971 Cannes Film Festival, where Lucas faced cultural clashes during the Directors' Fortnight sidebar, shaping the film's portrayal of a young American director's immersion in the event's chaotic atmosphere. The screenplay was written by Walter Bernstein and Don Petersen, with the original working title Cannes Game emphasizing satire of the industry's deal-making and pretensions at the festival. Bernstein, a veteran screenwriter who had been blacklisted during the Hollywood Red Scare in the 1950s for his leftist affiliations, brought a sharp edge to the script, informed by his own experiences in the post-war film world. Producer Terry Carr secured financing from for a modest budget of $2.5 million, enabling the project to move forward as an independent-leaning production within a major studio framework. Casting began with , the Italian actress renowned for her international roles in Michelangelo Antonioni's films, selected for her sophisticated allure to anchor the female lead as a producer's wife entangled in festival romance. was then chosen for the male protagonist, a naive filmmaker, aligning with his reputation from collaborations like Nashville for embodying an authentic, countercultural American vibe; Carradine committed early, even before the script was finalized. Negotiations with organizers granted permission to film on location during the 1978 festival, incorporating real events and cameos to heighten authenticity. Pre-production ramped up in early 1978, with and Petersen refining the script around the leads' strengths, shifting emphasis toward elements amid the satirical backdrop to balance lighter tones with industry critique.

Filming

for An Almost Perfect Affair commenced in September 1978 in , , after second unit footage had been captured during the earlier that year in May. The production spanned locations along the , including the Hôtel Carlton and the Croisette promenade in . To achieve a sense of realism, director Michael Ritchie integrated genuine elements from the 1978 into the film, such as ambient footage of festival crowds and events, which were shot on location amid the actual proceedings. This approach extended to the use of real posters and signage promoting films from that year's lineup, enhancing the backdrop's authenticity without relying on constructed sets. Cinematographer Henri Decaë employed a nonchalant, verité-inspired style to convey the frenetic energy of the festival, with fluid camera movements that often skimmed over the opulent surroundings like the Carlton Hotel's iconic lobby in favor of capturing interpersonal dynamics. His techniques emphasized the chaotic, improvisational feel of the event through unobtrusive framing that prioritized character interactions amid the Riviera's vibrant landscapes. The shoot presented logistical hurdles, including the need to synchronize with the festival's packed schedule to access key venues and crowds without disruption. Language barriers arose with the cast, notably lead actress , whose limited proficiency in English necessitated the hiring of a dialogue coach to facilitate communication and performance. Minor weather-related delays affected some outdoor sequences along the Côte d'Azur, though these were managed without significant impact on the overall timeline. In , editor Richard A. Harris refined the footage into a 93-minute , focusing on pacing to maintain the film's lighthearted tone while preserving the spontaneity of the location shoots.

Release and reception

Theatrical release

An Almost Perfect Affair had its world premiere on April 27, 1979, at the East theater in . The film opened with a limited release in select U.S. markets, including an earlier screening at the USA Film Festival on April 5, 1979. Distributed by , it was positioned as a highlighting the glamour of the , where much of the production had taken place during the 1978 event. Marketing efforts by emphasized the film's romantic elements and the star power of leads and , with trailers showcasing the festive setting and their chemistry. Posters featured the actors against backdrops evoking the , tying into the film's insider view of the film industry. The campaign also referenced the real to capitalize on its allure, though the title was changed from the working title Game to broaden appeal beyond festival pun enthusiasts. The picture carried a runtime of 93 minutes and an MPAA rating of for partial nudity. Internationally, Paramount rolled out the film in later in 1979, with a release in on September 9. This strategy leveraged the connection for European audiences familiar with the festival's prestige.

Critical response

Upon its release in 1979, An Almost Perfect Affair received mixed reviews from critics, who praised its charming leads and authentic depiction of the while critiquing its underdeveloped characters and predictable romantic tropes. of commended the "funny, sexy and sublimely incompatible" chemistry between and as the central lovers, noting their spirited performances and the film's cute meet-cute scenario involving confiscated film reels and a at . However, Canby found the plot slight and the banter choppy due to excessive editing that disrupted comic timing, adding that director Michael Ritchie underutilized his satirical flair for mob scenes, treating the festival as mere backdrop despite filming during the 1978 event. The film's ambivalent tone as a disenchanted was highlighted in contemporary coverage, with strengths in its in-jokes about the film industry and cameo appearances by real personalities like , but weaknesses in the thin storyline and underdeveloped supporting roles, such as Raf Vallone's brief turn as the oblivious producer husband. Retrospective assessments have similarly viewed as a minor entry in Ritchie's oeuvre, appreciating its festival setting and lead performances but lamenting its mild and lack of depth. In a 1985 Chicago Reader review (republished in Video Times), described it as "the seventh and possibly the slightest of Michael Ritchie's features," a mild with an appealing backdrop and attractive leads, though the story felt thin and the industry unthreatening, earning it 1.5 stars. A 2012 Time Out appraisal echoed this, calling it a "strangely disenchanted " that impresses with strong performances from Vitti and , its ambivalent attitude toward emotional deceptions, and documentary-style cameos, but positioned it as Ritchie's last personal film before a commercial shift, underscoring the predictable affair amid ethical rivalries. The film garnered no major awards or nominations, reflecting its modest critical impact, and holds a 57% audience score on based on over 500 ratings, with limited critic reviews available. Ritchie's direction was noted for its control in a small-scale production, effectively capturing the festival's hubbub through on-location shooting, though critics like Canby wished for more biting commentary on the event's spectacle.

Box office performance

An Almost Perfect Affair was released in limited fashion by on April 27, 1979, opening in just three theaters across the and earning a domestic gross of $85,493. Produced on a $2.5 million , the film represented a significant financial loss for the studio, which promptly pulled it from distribution after its brief run. Internationally, the film saw negligible earnings, with worldwide totals aligning closely to the U.S. figure and failing to recoup even a fraction of its costs. This overall flop status was exacerbated by the film's niche appeal, rooted in its setting, which distanced it from broader audiences during a competitive 1979 release landscape. The underwhelming performance strained director Michael Ritchie's career trajectory, leading him toward more commercially oriented endeavors, including the action-adventure The Island (1980).

Legacy and media

Soundtrack

The score for An Almost Perfect Affair was composed by , a prolific celebrated for his lyrical, emotionally resonant orchestral works that often emphasize romance and human tenderness. Delerue's style, featuring elegant waltzes and melodic themes, aligned seamlessly with the romantic tone and its setting amid the glamorous during the , creating an atmosphere of whimsical affection and light satire. The original score consists of orchestral pieces that evoke the Riviera's romance through flowing strings, gentle brass, and rhythmic cues, including brief adventurous motifs to underscore playful moments. Key tracks include the expansive "Main Title" (5:35), which establishes the film's enchanting mood; "Gambling on Love" (1:45), a tender highlighting budding romance; and "An Almost Perfect Affair" (1:47), used in the end credits to reflect on the story's bittersweet resolution. These elements integrate with visual sequences, such as the lively "Bicycle Thief" (1:00) accompanying a carefree bike ride and "Slow Dancing" (3:36) enhancing intimate dance scenes, thereby amplifying the narrative's charm without overpowering its dialogue-driven humor. The soundtrack also incorporates diegetic music, featuring festival songs and ambient Riviera sounds like seaside ambiance and crowd murmurs, which bolster the film's satirical take on Hollywood excess and festival frivolity. The original soundtrack album was released on LP in 1979 by Varèse Sarabande Records (STV 81132), compiling 16 cues with a total runtime of approximately 31 minutes; the tracklist highlights evocative titles such as "Alone in Cannes" (1:48), "Weekend in the Country" (1:44), and "Boating on the Grass" (1:55), capturing the film's escapist spirit. In 2006, Varèse Sarabande issued a limited-edition CD reissue (VCL 0306 1049, 1,000 copies) with the same expanded content and improved sound quality, though it saw no major commercial chart performance. Despite limited mainstream success, the album has earned acclaim in film music circles for its memorable, heartfelt melodies and Delerue's masterful evocation of fleeting romance.

Home media releases

The film was first made available on home video in 1985 through Paramount Home Video on VHS in a standard full-screen edition. Paramount Home Entertainment released An Almost Perfect Affair on DVD on September 23, 2003, in Region 1 as a remastered transfer with no special features or extras. As of 2025, no official Blu-ray edition has been released, though the film is available for digital rental or purchase on platforms including Amazon Video, , and at Home, with intermittent streaming availability on services like Prime Video.

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