Avaliações do Metacritic

Based on the play by Bill Naughton, Lewis Gilbert's film broke new ground by interspersing its amorous anti-hero's sexual conquests with frank and witty confessionals delivered straight to camera.

The whole thing is played expertly by everyone in the large cast, and a lively jazz score and bright color make it seem much more casual than it is.

ALFIE is a surprisingly successful exercise in dramatic irony: the title character, a charming mediocrity who fancies himself a ladykiller, delivers a running commentary on his tawdry sexual conquests and penny-ante criminal ambitions, cheerfully oblivious to an audience that knows more about him than he will ever know himself.

Michael Caine became a front rank star -- and actor -- when he played the title role in this smart, salty, subtly moving adaptation of Bill Naughton's play about a Cockney Casanova on the loose in Swinging London. [30 Jan 2000, p.41C]

Although for much of the way it tinkles along with the innocent merriment of a carousel, it dips into reality for its climax, and makes a valid and indelible impression.

Alfie pulls few punches. With Michael Caine giving a powerfully strong performance as the woman-mad anti-hero, and with dialog and situations that are humorous, tangy, raw and, ultimately, often moving, the film may well shock. But behind its alley-cat philosophy, there's some shrewd sense, some pointed barbs and a sharp moral.

For all its implicit misogyny, the original 1966 film version of Bill Naughton’s play remains durable because of Michael Caine’s career-defining performance as the cockney ladies’ man, not to mention the memorable title tune (sung by Cher) and driving jazz score (written and performed by Sonny Rollins).

Caine brings out the gusto in Naughton's dialogue and despite the obvious weaknesses in the film (the gratuitous "cinematic" barroom brawl, the clumsy witnessing of the christening, the symbolism of the dog), he keeps the viewer absorbed in Alfie, the cold-hearted sexual hotshot, and his self-exculpatory line of reasoning.

Terribly dated, but worth watching for Caine's performance.

Good in parts, mainly due to the excellence of Vivien Merchant, Jane Asher, Julia Foster, Shirley Anne Field and Shelley Winters as his various conquests and, in a brief but memorable role, Denholm Elliott as a sad abortionist. [28 Mar 2010, p.57]