In Manhattan, the British limousine driver Alfie is surrounded by beautiful women, most of them clients, and he lives as a Don Juan, having one night stands with all of them and without any sort of commitment. His girl-friend and single-mother Julie is quite upset with the situation and his best friends are his colleague Marlon and his girl-friend Lonette. Alfie has a brief affair with Lonette, and the consequences of his act forces Alfie to reflect and wonder about his life style. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Susan Sarandon gave pictures of herself in the 1970s to British artist Russell Oxley, who used them to paint an acrylic portrait of her character, supposedly from that era. After filming, the canvas went home with Sarandon. See more »
During the scene at the florist's shop (supposedly in downtown Manhattan but filmed in Liverpool), there is a shot looking into the shop from outside. A couple of small Regency-style terraced houses, clearly inappropriate for the film's setting, can be seen reflected in the window. See more »
You're lucky you know. I rarely allow anyone into my flat.
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The producers wish to thank residents and businesses of Northern Quarter Manchester See more »
I saw Jude Law for the first time on Broadway on an adaptation of a Jean Cocteau play. He was a stunner. You could see his future even from where I was sitting, one of the cheapest sits at the back of the theatre. Then "Gattaca" a poor film that Jude Law's presence alone awarded some sort of cult status. Other films with the likes of Jeanne Moreau, David Cronnenberg, Jenifer Jason Leigh. All good stuff, all seem to confirm my original impression. Then, "Wilde" and "The Talented Mr. Ripley" and I thought -- Amazing, we haven't had an actor like this, ever. Forget about his beauty, if you can, and concentrate in his mind boggling range. In Mr. Ripley the film never recovers from his death and in "Wilde" you understand, you actually understand Oscar Wilde, losing absolutely everything for him. He introduced the only entertaining moments in "Artificial Intelligence" and then, something happened, too many films and not too much judgement. In "Cold Mountain" he didn't have the epic scope that, in my modest opinion, the character required. In "Road to Perdition" he indulges in a shallow show off performance overshadowed by a theatrical costume and rotten teeth. But "Alfie" is, quite simply, unforgivable. Not a moment of truth, not a moment of charm, not a moment of beauty. The three elements that brought Jude Law up this moment. I left the theatre more than disappointed, I left angry because I recognised the symptoms of a potentially, mythological career, in real danger. I hope Jude Law sees the light, unless he is satisfied with the Troy Donohue award. If that's the case, well, he already got it. "Alfie" got it for him.
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