It deals with themes of conformity versus rebellion, and makes use of biblical allegory[5] including the tale of Adam and Eve.

Bibi is caught up in the wild lifestyle BIM offers, while Alphie risks his life to free her from the company's evil clutches.

Alphie and Bibi are saved by the Rapture, and all good souls are taken away by Mr. Topps who arrives on the scene in a flying apparition of a Rolls-Royce.

[11] Golan finally decided to direct and produce a film version of The Apple, instructing Recht to be in Los Angeles immediately.

"[11] George S. Clinton, who had a previous career as a songwriter and recording artist, joined the project to translate the lyrics from Hebrew to English after being recommended for the job by Golan's secretary Kathy Doyle.

[8]: 24:20–24:32 Approximately 50% of the demos for the English versions of the songs were finished by the time work on The Apple moved to London,[11] where two months worth of auditions, rehearsals, and recording and mixing of the score took place.

"[4] Stewart explained in a 2012 interview that while she had vocal training in her performing arts school, she didn't have the same "professional" singing skills of other members of the film's cast.

[4] Golan eventually noticed her poor singing, and he, as Stewart explained, "sent me to a voice coach who actually thought I was fine for the movie, but [the producers] kind of got cold feet.

[10][2] The Apple editor Alain Jakubowicz claimed that, as with Golan's previous works, the original footage was around 1 million feet long, or four hours worth, and "five to six" cameras were used to shoot the musical sequences.

[4] The opening concert sequence was shot at the main hall of Internationales Congress Centrum Berlin[10] and was filmed for five days in a row.

[8]: 55:59–56:11  The sequence for the track "Speed" was filmed at the Metropol nightclub, which held the Guinness World Record for biggest indoor laser show.

[4] This and the shooting of what Recht and Yotvat considered the film's "horrible" ending sequence is what persuaded the two to leave Berlin and go back to Israel.

[4] Jakubowicz replaced Hoenig's position and claimed in a retrospective that he enjoyed editing The Apple, especially the film's musical scenes.

"[8]: 58:36–58:48  Cutting out most of the story's heaven aspects, including the "Paradise Day" scene, were Golan's methods of not going too "extreme" with the religious undertones in order for the film to be more "acceptable" and less "formidable" for audiences.

[8]: 48:13–48:30  Jakubowicz later edited another musical film Golan worked on, an adaptation of The Threepenny Opera (1928) named Mack the Knife (1989).

[4] The recording and mixing of The Apple's score took place at The Music Centre, a studio in Wembley,[14] and cost an "amazing budget" to complete, Recht said.

[8]: 35:34–35:46  The Apple's soundtrack features sounds and production techniques that were never heard on any other record before, such as the use of pink noise on the snare drums.

[8]: 33:25–33:48  Recht said recording the film's reggae number "How To Be a Master" was complicated due to actual Jamaican musicians performing on the song and not being able to "read the charts" that were in English.

Described by Francis Rizzo of DVD Talk as the Faust legend told through the lens of the music industry,[17] The Apple is about a conflict between good and evil, a battle between the pacifistic hippies and show business people who only care about wealth and power.

"[4] Common criticism from both reviews that appeared in trade publications and major news outlets and the audience were a lack of originality,[2] a weak script,[2] uninspired music,[2] poor execution,[2] and Golan's inexperienced take on the 1960s hippie movement.

[4] Variety gave a negative review of the film, stating that "the characters and story are flimsy and seem intended as mere pegs on which to hang the musical numbers" and that "the choreography generates a lot of energy, but its frantic tempo doesn't always compensate for lack of imagination."

However, the review also complimented the film's technical aspects, particularly that "David Gurfinkel's camera work profusely [uses] every trick in the business, every filter and lighting device, to hold attention up at all times.

"[citation needed] The Monthly Film Bulletin described The Apple as a "cut-price extravaganza [that] plummets to a new low in opportunistic inanity," and said that the "sole saving grace is an enthusiastically camp performance by Vladek Skeybal.

[23] From retrospective reviews, Eric Henderson of Slant magazine gave The Apple one star out of four and said "every song in the goddamned movie sucks" and added that the film's "relentless bad taste is sure to appeal to the same audience that won't even realize they're being slapped in the face".

[24] TV Guide stated "The Apple clearly was designed to duplicate the success of The Rocky Horror Picture Show (1975) and failed dismally, in large part because the music is so stupendously banal...The lesson: Making a cult hit is harder than it looks.

"[7] Bill Gibron of DVD Verdict described The Apple as "a gamy glitterdome of outrageous kitsch passing itself off as a futuristic fable.

"[26] Gibron strongly criticised the film's music, saying "Lines fail to rhyme, emotions are so spelled out that inbred invertebrates can figure out the meaning, and everything feels like it was produced by Georgio Moroder's [sic] insane brother...The Apple should be a celebration of all that is camp.

"[28] Presumably this was an original preview print, as it included additional scenes that were cut out of the widely released version (including the complete Coming and Child of Love musical sequences which had been truncated in the final print), a simpler entrance for Mr. Topps at the end (instead of exiting from a Rolls-Royce, he merely transforms from the previously seen hippie leader), and the closing credits were presented in a different font and layout.

Scorpion Releasing under license from MGM, released the film onto Blu-Ray in 2017 which featured a brand new 2016 HD master, audio commentary by star Catherine Mary Stewart moderated by film historian Nathaniel Thompson, On Camera Interview with star Catherine Mary Stewart, and Original Theatrical Trailer.

This edition of the film features a satirical commentary done by the former stars of Mystery Science Theater 3000 - Michael J. Nelson, Kevin Murphy, and Bill Corbett.