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Charles Shyer
Jude Law, Jane Krakowski, Marisa Tomei, Omar Epps, Susan Sarandon , Sienna Miller, Nia Long, Gedde Watanabe
Writing Credits:
Bill Naughton (play, Alfie), Bill Naughton (earlier screenplay), Elaine Pope, Charles Shyer

What's it all about?

In this remake of the 1966 Michael Caine classic, Jude Law takes over the role of Alfie, a Cockney womanizer (now living in New York City) whose series of one-night stands and lack of commitment brings him to question his life.

Box Office:
$60 million.
Opening Weekend
$6.218 million on 2215 screens.
Domestic Gross
$13.395 million.

Rated R

Widescreen 1.85:1/16x9
English Dolby Digital 5.1
English Dolby 2.0
French Dolby Digital 5.1

Runtime: 105 min.
Price: $29.95
Release Date: 3/15/2005

• Audio Commentary with Writer/Director Charles Shyer and Editor Padraic McKinley
• Audio Commentary with Writer/Director Charles Shyer and Writer/Producer Elaine Pope
• “Round Table - An Intimate Discussion of the Film’s Production”
• “The World of Alfie” Featurette
• “The Women of Alfie” Featurette
• "Alfie: Deconstruction of a Scene”
• Gedde Watanabe Dance Footage with Optional Commentary
• “Let the Music In” Featurette
• Deleted Scenes with Optional Commentary
• Trailer
• Script Gallery
• Production Gallery
• Storyboard Gallery
• Previews


Sony 36" WEGA KV-36FS12 Monitor; Sony DA333ES Processor/Receiver; Panasonic CV-50 DVD Player using component outputs; Michael Green Revolution Cinema 6i Speakers (all five); Sony SA-WM40 Subwoofer.


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Alfie (2004)

Reviewed by Colin Jacobson (March 4, 2005)

What’s it all about, Alfie? In the case of the 2004 remake, about $13 million - at least in terms of US box office gross. I guess that tells us that audiences weren’t terribly excited to see the adventures of this particular inveterate ladies’ man.

At the film’s start, we meet the titular character (Jude Law), a Brit who relocated to Manhattan to explore its women. Arrogant and self-confident, he maintains exceedingly high standards, as he considers an “A-“ to be his “highest grade”. Alfie drives a limo and shags many of his female passengers.

Though he’s a serial womanizer, Alfie maintains a “semi-regular, quasi-sort-of-girlfriend” named Julie (Marisa Tomei). He basically just uses her at his convenience and responds “Thanks, baby” when she says she loves him. A complication occurs because he bonds with her young son Max (Max Morris), and his affection for the kid ties him to Julie more than he’d like. However, she dumps Alfie when she finds out he cheated on her.

Alfie’s best pal Marlon (Omar Epps) gets depressed because his girlfriend Lonette (Nia Long) dumps him. When Alfie hangs out with Lonette, inevitably the pair start to flirt, and he bangs her on a bar pool table. This has the surprising effect that Lonette decides to reunite with Marlon, and the pair marry. However, a complication ensues when she finds out she’s pregnant. She thinks Alfie’s the father and decides to get an abortion.

This turn of events affects Alfie, and he also seems unusually bothered by his split with Julie. When Alfie tries to throw himself back into his swinging lifestyle, he discovers his equipment doesn’t work as usual, so he sees a doctor. This leads to a health scare when the doctor finds a lump on Alfie’s unit.

After this comes back negative, Alfie briefly vows to change his life for the healthier, but that doesn’t last. He soon gets involved with wild young Nikki (Sienna Miller) and even thinks she may be “the one”. That relationship hits many snags due to her psychological problems, though. Alfie also dallies with successful and sexy older woman Liz (Susan Sarandon) and considers getting serious with her. The remainder of the flick follows Alfie’s ups and downs as he deals with relationship issues.

Since I never saw the original Alfie, I can’t compare the two. However, I assume the original must have been more interesting, for the remake is pretty much a dud.

When Alfie works, it does so only in the film’s earliest moments. During the introductory scenes, the movie takes on a lively tone that makes it quite intriguing. As an unrepentant womanizer, Alfie is entertaining. Though we recognize the character’s less than noble attributes, he’s a fun guy and we get caught up in his adventures.

In addition, the flick’s flippant attitude gives it some spunk. The whole “talking to the camera” thing isn’t exactly original, but the flick twists it in interesting ways. I mean, how often does a guy chat with the viewer in the middle of sex?

Unfortunately, Alfie quickly turns into a sudsy melodrama. As soon as Alfie shags Lonette, his world goes downhill and he encounters one problem - whether physical or emotional - after another. Normally I regard character growth and depth as a good thing, but here it just becomes tedious. Alfie goes from a somewhat callous but exciting personality to a whipped wimp. Rather than turn his changes into a believable journey of self-realization, the film simply makes Alfie dull and simpy. Law seems well-cast in the role and he does his best, but there’s not much he can do to overcome the whiny turn of tone.

Part of the problem is that Alfie’s changes feel forced. These don’t develop in a natural and believable way. Instead, he turns into a different kind of person for no reason other than plot convenience.

It doesn’t help that director Charles Shyer pours on telegraphed movie techniques to tell his story. Often we see big signs with single words on them like “wish” or “desire”. These act as a form of Greek chorus to comment on Alfie’s state of mind. They’re cheesy and not effective.

Shyer also uses color in distractingly obvious ways. For example, in one late scene Alfie re-encounters Julie. He goes from the street into a coffee shop. As he does so, the palette changes from steely blue to warm and inviting. The message is annoyingly clear and this comes across as a cheap tactic. Rather than convey emotion in a more natural way, Shyer beats us over the head with such methods.

I won’t call Alfie a terrible movie; I’ve seen too many of those to lump it into that category, as it’s generally watchable. It’s simply saddled with awkward story-telling techniques and a character who becomes less and less interesting as the movie progresses. Alfie bores too much of the time.

The DVD Grades: Picture B-/ Audio B-/ Bonus A-

Alfie appears in an aspect ratio of approximately 1.85:1 on this single-sided, double-layered DVD; the image has been enhanced for 16X9 televisions. The flick usually looked pretty good, but it showed a few more problems than I’d expect from a modern movie.

Sharpness mostly came across well. Some light softness interfered with the image occasionally, but not with much frequency. Instead, the movie largely appeared distinctive and concise. No issues with jagged edges or shimmering occurred, but mild edge enhancement appeared through the flick. As for source flaws, I noticed an occasional speckle, but the biggest distraction came from the surprisingly heavy grain. This may have been a stylistic choice, but such a decision didn’t seem obvious, and the film turned awfully grainy at times.

As I noted in the body of my review, Alfie used a very broad palette that went from heavy, oversaturated tones to cold, stark hues. The DVD replicated them fairly well, though the denser colors occasionally looked a bit messy. Blacks were acceptably dark but not anything exceptional, and shadows were also only good. Though low-light shots demonstrated acceptable definition, they weren’t terribly vivid. For the most part, this was a more than acceptable transfer, but the various concerns knocked it down to a “B-“.

Though it lacked any significant problems, the Dolby Digital 5.1 soundtrack of Alfie also earned a “B-“ due to its lack of ambition. That didn’t come as a surprise, though, since I didn’t expect a chatty drama like this to offer a sonic firecracker. For the most part, the soundfield stayed restricted to the front and failed to demonstrate much breadth. Music depicted good stereo delineation, and effects spread to give us a decent sense of atmosphere.

Not much else occurred, however, and that included the use of the surrounds. A few sequences such as thunder and nightclubs brought the back speakers to life, but those occurred infrequently. They worked fine for what they were, though, and the mix was about what I’d expect for this kind of movie.

Audio quality appeared solid. Speech consistently came across as concise and crisp, and I detected no issues connected to edginess or intelligibility. Effects rarely taxed my system, as the film offered few louder sequences. Those elements sounded appropriately accurate and dynamic, though. Music was nicely defined and vivid, with tight highs and warm lows. There wasn’t much to this mix, but it was perfectly acceptable for this story.

Despite the film’s weak box office showing, Paramount’s DVD of Alfie packs a surprisingly formidable roster of extras. It opens with two separate audio commentaries, the first of which features writer/director Charles Shyer and film editor Padraic McKinley. I can sum up much of this commentary’s content in three words: location, location, location. Shyer constantly tells us which bits were shot where, and he explains that he thinks this is fascinating since it shows the ways filmmakers tie together pieces filmed on different days in disparate spots. And he’s right to a degree, but a little of this goes a long way.

In addition, Shyer and McKinley chat about editing and pacing, cut sequences and comparisons with the original flick, the cast and the music, visual elements and lighting, and general storytelling topics. In spite of the obsession with locations, the content is usually pretty solid, and we get a fairly good look at the film’s making. Unfortunately, plenty of the standard happy talk pops up here, as the pair often praise the film and those involved. Those elements slow down an otherwise reasonably positive track.

For the second commentary, we get Shyer plus writer/producer Elaine Pope, both of whom sit together for a running, screen-specific chat. Not surprisingly, Shyer and Pope mostly go over story-related issues. We get more substantial comparisons between both the original and the play with the remake, and we also hear about deleted and changed sequences, character development, working with the actors, and general production choices. A moderate amount of information repeats from the first commentary, but not too much; for example, though Shyer occasionally mentions locations, he doesn’t do so nearly as often.

Unfortunately, this commentary comes with plenty of vapid praise, and that makes it tedious much of the time. The information that appears only sporadically becomes intriguing, as Shyer comes across as a bit talked-out after the first commentary. Occasional dead air occurs, especially during the film’s second half; for that period, things get tedious, though this track never really goes much of anywhere. Enough decent notes pop up for big fans to like it, but I didn’t get involved in it.

In an unusual move, Shyer mentions that they recorded the track about 10 days after the film opened in America and he actually acknowledges its lack of success. He doesn’t come out and call it the flop that it was, and he spins it with notes about its success elsewhere, but I was nonetheless really surprised to hear any information on this topic at all. Rarely do those involved with financial duds admit that in commentaries!

In the Round Table of Alfie, we get a 16-minute and 16-second program. Shyer and McKinley sit with cinematographer Ashley Rowe and production designer Sophie Becher. They talk about their impressions of the original and the concept of a remake, staging the scenes in which Alfie talks to the camera, the film’s color schemes and other visual choices, making England look like New York, storyboards, sets, the use of signs to telegraph Alfie’s mood, and the flick’s genre.

In addition to the comments, we see a few appropriate film clips plus occasional snippets from the original. Lots of nice behind the scenes bits pop up as well to flesh out the concepts. Some of the material repeats from the commentary, but we get a better investigation of the issues in this tight and informative piece.

For The World of Alfie, we get a 10-minute and 31-second featurette. It presents notes from Shyer, Pope, and actor Jude Law. They chat about the desire to update the original movie, casting and character issues, more about Alfie speaking to the camera, changes from the original, and the new one’s ending. Again, we hear some of this in the commentaries, but a fair amount of unique information appears. There’s definitely enough to turn this into a fairly useful program.

Another featurette pops up with the 12-minute and eight-second The Women of Alfie. It includes remarks from Pope, Shyer, Law, and actors Jane Krakowski, Marisa Tomei, Sienna Miller, Omar Epps, Nia Long, and Susan Sarandon. The show addresses updating the female characters, casting and character notes, working with the director, and more comparisons with the original. “Women” ends up as the strongest of the featurettes, largely due to those contrasts with the first flick. We get nice information about the older movie and see more fun material from behind the scenes; Miller’s casting tape is especially cool to watch. This is a strong piece.

Editor McKinley leads us through a Deconstruction of a Scene. This four-minute and 34-second clip looks at the movie’s opening sequence, as McKinley discusses shooting challenges, cuts and deleted bits, and other elements. The glimpses of the excised pieces are the most interesting, but the rest of it works well as it offers a snappy glimpse at the various aspects of the scene.

For something unusual, we find 124 seconds of Gedde Watanabe Dance Footage. This simply shows the actor as he goofs around between takes. It’s moderately amusing. We can watch this clip with or without commentary from Shyer and Pope. They give us some minor details about the silly segment.

For the disc’s final featurette, we head to Let the Music In. It fills 12 minutes and 33 seconds with information from Shyer, musicians Mick Jagger, Dave Stewart, Yolande Charles, Mike Rowe, Ali McErlaine and Chris Sharrock. They inform us about the songs and their work on the film. A few shots from the studio are cool, but it remains too superficial to turn into anything educational.

Eight Deleted Scenes fill a total of 10 minutes and 53 seconds. Most of these maminly fill out existing scenes or become redundant. The most interesting feature a deleted love interest of Julie’s. We can view these with or without commentary from Shyer and McKinley. They offer good notes about the scenes and concisely tell us why the segments got the boot.

Three stillframe sections follow. The Script Gallery allows us to look at the text for six segments of the movie: “Meet Alfie”, “Dressing the Part”, “Backseat Driver”, “Seeing Red”, “Word Around Town”, and “Doomed Relationship”. Production Gallery includes 19 images, as it combines photos of locations and plans for sets. Finally, the Storyboard Gallery offers drawings created for six scenes: “Meet Alfie” (31 frames), “Dressing the Part” (19), “Backseat Driver” (29), “Seeing Red” (17), “Word Around Town” (22), and “Doomed Relationship” (22). All together, these present a fair amount of depth about the various sequences and pad out the DVD well.

In addition to the film’s trailer, when the disc starts, we get a series of ads. The DVD includes promos for Lemony Snicket’s A Series of Unfortunate Events, Suspect Zero and Coach Carter. These also appear in the disc’s Previews area.

Today’s annoying marketing decision: Alfie’s package sports a big sticker that reads “Over 4 hours of DVD bonus material including 8 deleted scenes”. I wouldn’t mind this sticker except for two problems. First, they adhere it straight to the case, not the shrink-wrap. Second, it’s put in one of the most awkward spots, as it lands right on Law’s mug! Maybe that’ll be different for others and my copy was unusual, but it makes the cover decidedly unappealing.

At least Paramount follow through with subtitles for the extras as usual. The vast majority of their titles provide this convenience, and I appreciate it.

Rather than offer an interesting personality study, Alfie prefers to provide little more than a standard chick flick. It takes a lively and intriguing character and turns him into a wuss, all in the interest of “growth”. Bah - the movie just panders to a certain segment of the audience with its dull exposition.

As for the DVD, it offers fairly average picture and audio along with a surprisingly broad and large package of extras. The latter definitely make this a more interesting set. Unfortunately, the movie itself falters too frequently for me to recommend it.

Viewer Film Ratings: 3.3333 Stars Number of Votes: 18
5 3:
View Averages for all rated titles.