ALFIE (1966)

Made on the cusp of ‘Mod’ or Swinging London (Antonioni’s BLOW-UP opened six months later), Bill Naughton's adaptation of his own play is unusually specific as to time & place, which, of course, helps make it universal. Retaining the theatrical device of breaking the ‘fourth wall,’ Michael Caine’s Alfie can confide, defend & explain the ways of his Rake’s Progress; a womanizing cad with an upset conscience. He courts us 'across the footlights' to make his argument, only to lose his case to himself. Both heel and pushover, it’s a real tour de force for Caine who’d made a name for himself in ZULU/’64 and THE IPCRESS FILE/’65, but broke out to a different level here, charming & appalling as he runs thru ‘birds’ without fully connecting. Director Lewis Gilbert takes all the play-to-film obstacles in stride, getting away with stylistic tricks by ignoring the difficulties. And with a cast to make it work, as Caine’s seemingly easy conquests turn on him, one by one. Shelley Winters is a standout as an older bedmate who holds the reins (and with no vocal whining for a change!); funny, sexy & knowing exactly what she wants and what she can get. And what an unexpectedly frank & brutal abortion sequence after Vivien Merchant, wife of a hospital roommate, has succumbed to Alfie’s inevitable attentions. You’d never see it in a popular entertainment today.

DOUBLE-BILL: In THE RAKE’S PROGRESS/’45 (aka NOTORIOUS GENTLEMAN)/, Sidney Gilliat & Frank Launder make Rex Harrison such a womanizing rotter, only WWII can redeem him. (Skip Jude Law's unfortunate 2004 ALFIE remake.)

SCREWY THOUGHT OF THE DAY: Terence Stamp, who starred in the play (a hit in the West End/a flop on B’way), turned down the film. Lucky thing for roommate Michael Caine and for the film. Caine’s more cheeky than handsome, a quality that makes his confidence something of a ploy. Stamp’s God-given looks would have done all the work for him, unbalancing the drama.