Fiddler on the Roof (1971)

Fiddler on the Roof (1971)

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“Even the worst husband, God forbid, is better than no husband — God forbid!”

Synopsis:
A Jewish dairy farmer (Topol) married to a demanding wife (Norma Crane) is shocked to learn that his oldest daughter Tzeitel (Rosalind Harris) won’t marry a local butcher (Paul Mann) given that she’s already made a commitment to a young tailor (Leonard Frey) — but Tevye (Topol) soon learns that his other two older daughters, Hodel (Michele Marsh) and Chava (Neva Small), are also interested in their own suitors, rather than a man provided by the local matchmaker (Molly Picon).

Genres, Themes, Actors, and Directors:

  • Feminism and Women’s Issues
  • Grown Children
  • Historical Drama
  • Jews
  • Musicals
  • Norman Jewison Films
  • Play Adaptations

Review:
Norman Jewison directed this big budget adaptation of the 1964 Broadway hit of the same name, itself based on stories by Sholom Alecheim about Tevye the Dairyman. There was much controversy around Jewison’s decision not to cast the original Broadway star, Zero Mostel, in the lead, instead choosing 35-year-old Israeli actor Topol to bring more of a “natural” feel to the film. While many disagree, I find Topol both well-suited to the role, and highly relatable: he’s someone we connect with and care about during his travails.

Also noteworthy is Leonard Frey as the timid tailor Motel, who eventually comes into his own and stands up to Tevye so he can marry his sweetheart. (Frey’s other well-known role was as Harold in The Boys in the Band [1970].)

There’s fine use of location shooting (in Yugoslavia), and a slew of instantly hummable songs — including “Tradition”:

… “Matchmaker”:

… “If I Were a Rich Man”:

… “Sabbath Prayer”:

… “To Life”:

… “Miracle of Miracles”:

… “Sunrise, Sunset”:

… “Do You Love Me?”

… and “Far From the Home I Love”.

Okay, here is where I should interject my personal history with this play: I was the pianist for a local community theater kids’ production of “Fiddler on the Roof” back in 1999, and thus got to know each and every one of the songs (and most of the dialogue) quite intimately. It’s possible my familiarity with the music is influencing my appreciation for so many of the songs — but they do truly seem memorable to me. Be sure to check out the 2019 documentary Fiddler: A Miracle of Miracles if you’re interested in learning more about the history and reach of this surprisingly boundary-crossing play.

Notable Performances, Qualities, and Moments:

  • Topol as Tevye
  • Leonard Frey as Motel
  • Ossie Morris’s cinematography

Must See?
Yes, as a fine late-genre musical. Listed as a Personal Recommendation in the back of Peary’s book.

Categories

  • Good Show
  • Oscar Winner or Nominee

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Oliver! (1968)

Oliver! (1968)

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“This would never have happened if you’d kept him on gruel!”

Synopsis:
After being kicked out by the director (Harry Secombe) of his orphanage and the owner (Leonard Rossiter) of a funeral home, a self-reliant young boy named Oliver Twist (Mark Lester) is invited by a pickpocket nicknamed The Artful Dodger (Jack Wild) to join a gang led by greedy Fagin (Ron Moody) and evil Bill Sykes (Oliver Reed), whose loyal girlfriend Nancy (Shani Wallis) works at a local pub.

Genres, Themes, Actors, and Directors:

  • Carol Reed Films
  • Charles Dickens Adaptations
  • Gangs
  • Historical Drama
  • Hugh Griffith Films
  • Musicals
  • Oliver Reed Films
  • Orphans
  • Thieves and Criminals

Response to Peary’s Review:
Peary writes that while “it’s hard not to resent any film to which Hollywood establishment voted the Best Picture Oscar in the year 2001 was released,” he nonetheless believes “it’s time that the ‘hip’ 2001 fans caught up with the mass audience” given that “this is a marvelous film, and an outstanding addition to the fading musical genre.” He points out that this “freely adapted” flick “from Dickens’s Oliver Twist… overcomes a major obstacle”: even though “the original story is one of constant grief and hardship — certainly not material readily adaptable to a musical,” the “happy score” by Lionel Bart, “sung and danced amidst the menacing atmosphere, creates both a ‘feel-good’ sensation and the dreary feeling of the novel.” He notes that while “the novel’s scoundrels are present,” aside “from the incredibly evil Bill Sikes” (it’s geekily intriguing to me that he’s played by Oliver — as in the title character — Reed — as in the director’s last name):

… “they have been somewhat cleansed.” To that end, as DVD Savant writes, “That a man who criminally exploits children for profit should be sympathetic is a credit to Moody’s appeal.”

Peary argues that “much credit for the film’s success can be attributed to Carol Reed,” given that so much of the second half of the movie “depends a great deal on atmosphere and suspense, which Reed pulls off brilliantly.” Meanwhile, Reed also made “sure that the spectacular production numbers were cinematic rather than stagy” and he “allowed his actors free rein to develop interesting, multidimensional personages.” While Peary asserts that “Mark Lester is a bit wimpy in the title role” (I’m not sure I agree — he stands up for himself, time and again!):

… actors Moody, Wild, and Wallis “are absolutely wonderful” (yes).

I also agree with Peary and others that Oliver! remains a crackerjack overall musical, for numerous reasons, but primarily given how many of the songs knock it out of the park. For the record, they include (but are not limited to) “Food, Glorious Food”:

… “Where is Love?”

… “Pick a Pocket or Two”:

… “Consider Yourself”:

… “I’d Do Anything”:

… and “As Long As He Needs Me”:

Notable Performances, Qualities, and Moments:

  • Ron Moody as Fagin
  • Jack Wild as the Artful Dodger
  • Shani Wallis as Nancy
  • Oliver Reed as Bill Sikes
  • Many toe-tapping musical numbers (choreographed by Onna White)
  • Atmospheric cinematography and sets

Must See?
Yes, as an enjoyable musical, and for its Oscar winning status.

Categories

  • Oscar Winner or Nominee

Links:

Breakin’ (1984)

Breakin’ (1984)

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“It takes more than talent; you’ve gotta be tough.”

Synopsis:
When a waitress (Lucinda Dickey) and her friend (Phineas Newborn III) from dance class meet up with a pair of break dancers (Adolfo “Shabba-Doo” Quinones and Michael “Boogaloo Shrimp” Chambers) in Venice, they try to convince Dickey’s new agent (Christopher McDonald) to give their troupe a chance at fame — but will Dickey’s slimy dance teacher (Ben Lokey) attempt to interfere?

Genres, Themes, Actors, and Directors:

  • Dancers

Review:
This quickie pop flick was made expressly by Cannon Films to bank on the success of a 1983 documentary entitled Breakin’ and Enterin’, about the new(ish) phenomenon of break dancing. The serviceable script consists of lines like the following:

“She ain’t no street dancer; she knows nothin’ about what we do.”
“Street dancing belongs on the street; it won’t get you to Broadway.”

… etc. And while the characters are two-dimensional, Dickey (a talented dancer) at least has nice screen presence.

Thankfully, there are plenty of impressive dance sequences taking place on the streets, in clubs, and in studios — which is what we’re really watching for anyway.

While interracial harmony abounds, class differences are highlighted to a ludicrous degree:

… though it’s all in service of miraculously bridging divides by the end. And yes, that is Ice T. in his screen debut as a DJ.

Notable Performances, Qualities, and Moments:

  • Plenty of fun dancing sequences
  • Good use of L.A. location shooting

Must See?
No, but it’s worth a look for its cult status. Listed as a Cult Movie in the back of Peary’s book.

Links:

Ritz, The (1976)

Ritz, The (1976)

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“For someone who’s never been in a place like this, you’re certainly getting around!”

Synopsis:
A man (Jack Weston) hides away in a gay bath house when his mafia-involved brother-in-law (Jerry Stiller) puts a hit out on him.

Genres, Themes, Actors, and Directors:

  • Comedy
  • Homosexuality
  • Mafia
  • Mistaken or Hidden Identities
  • Play Adaptation
  • Richard Lester Films
  • Rita Moreno Films
  • Treat Williams Films

Response to Peary’s Review:
Peary writes that while “this adaptation of Terrence McNally’s broad bath-house farce runs out of steam near the end, the frenetic performances and direction by Richard Lester make it a delight,” and he refers to it as a “much underrated comedy.” The storyline focuses on Weston meeting “a wild assortment of gays on the sexual prowl” at a New York bath house — including a diminutive “chubby chaser” (Paul B. Price) determined to pounce on Weston:

… and F. Murray Abraham (giving the film’s most memorable performance) as a man mostly hoping to get lucky but also happy to lend Weston a hand once he learns what’s going on.

Peary points out that “in a rare lead, Weston is splendid, especially in his scenes with marvelous Rita Moreno, whose talentless Googie Gomez performs in the bath’s nightclub.” (Moreno won a Tony for her performance of the role on Broadway, which she says was written for her after she played the character at a party thrown by James Coco.)

Peary asserts that while “Moreno steals the film,” he finds “it impossible not to laugh every time detective Treat Williams uses a ridiculous, high-pitched voice. (I disagree, and find this unfunny character trait simply distracting.) Overall, this is a rare film where I caught myself wondering exactly how much I “could” or should laugh; knowing it was written by a gay man helps, though Weston’s transphobia (he’s been misinformed that Moreno’s character is a man) is uncomfortable. Ultimately, as with all comedies, viewers will have to decide for themselves whether this is their cup of tea or not.

Notable Performances, Qualities, and Moments:

  • Jack Weston as Gaetano Proclo
  • F. Murray Abraham as Chris

Must See?
No, but it’s worth a look.

Links:

Sweet Charity (1969)

Sweet Charity (1969)

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“Without love, life has no purpose.”

Synopsis:
When a dance hall hostess (Shirley MacLaine) meets and falls in love with a nervous man (John McMartin) stuck in an elevator, it seems she may finally have a chance at romantic happiness — but will McMartin be able to overlook MacLaine’s colorful work history?

Genres, Themes, Actors, and Directors:

  • Morality Police
  • Musicals
  • Prostitutes and Gigolos
  • Ricardo Montalban Films
  • Romantic Comedy
  • Shirley MacLaine Films

Review:
Bob Fosse’s cinematic directorial debut was this adaptation of the Broadway play he’d also directed, itself directly inspired by Federico Fellini’s Nights of Cabiria (1957). While it didn’t do well at the box office (audiences were beginning to lose interest in such big-budget musicals), it remains a colorful, vibrantly filmed outing that does Fellini’s work justice. MacLaine is perfectly cast in the title role — originally played by Fosse’s wife Gwen Verdon on Broadway — as a “dance hall girl” who’s first seen (as was Giuletta Masina’s Cabiria) being grotesquely shoved into the water by her brute of a “boyfriend”.

Also as in Nights of Cabiria, Charity heads out and then home with a famous movie star (Ricardo Montalban) who’s just had a fight with his glamorous girlfriend (Barbara Bouchet). She ends up having the night of her life with him:

… before falling asleep in his closet and sneaking out the next morning. When she accidentally cute-meets a claustrophobic man (McMartin) on her way out of a disastrous meeting with a job recruiter, we can understand her hesitation at letting him pursue her:

… but are also totally rooting for the couple. Meanwhile, the entire storyline is filled from beginning to end with colorful musical numbers — including top hits “Big Spender” and “If My Friends Could See Me Now” — creatively staged by Fosse:

… who also has fun with freeze frames and other cinematic trickery. Even when the songs don’t directly move the storyline forward, they’re engaging to watch — as with the somewhat random inclusion of Sammy Davis, Jr. and troupe performing “The Rhythm of Life” simply because McMartin decides to take MacLaine to his “church of the month”.

While this film has more than enough heartache to go around:

…. it’s leavened by color, pathos, and humor, and remains worthy viewing. Watch for Bud Cort in a tiny role near the end as a “flower power” hippie who approaches Charity in a park.

Notable Performances, Qualities, and Moments:

  • Shirley MacLaine as Charity
  • Several rousing musical numbers with fine choreography


Must See?
Yes, for MacLaine’s performance, Fosse’s directing, and several enjoyable musical numbers. Listed as a Personal Recommendation in the back of Peary’s book.

Categories

  • Important Director
  • Noteworthy Performance(s)

Links:

What’s Up, Doc? (1972)

What’s Up, Doc? (1972)

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“I know you don’t mean any harm; you’re just — different!”

Synopsis:
A bumbling musicologist (Ryan O’Neal) competing with an obnoxious Croatian (Kenneth Mars) for a grant from a wealthy donor (Austin Pendleton) gets into trouble with his whiny fiancee (Madeline Kahn) when a wacky college dropout (Barbra Streisand) decides she likes him and aggressively pursues him.

Genres, Themes, Actors, and Directors:

  • Barbra Streisand Films
  • Madeline Kahn Films
  • Michael Murphy Films
  • Mistaken or Hidden Identities
  • Peter Bogdanovich Films
  • Professors
  • Randy Quaid Films
  • Romantic Comedy
  • Ryan O’Neal Films

Review:
Peter Bogdanovich’s remake of — or affectionate homage to — Howard Hawks’ Bringing Up Baby (1938) was co-scripted by Buck Henry, David Newman, and Robert Benton and featured perhaps the only person wacky enough to compete with Katharine Hepburn in the original: Barba Streisand (in her fifth starring role).

Unfortunately, O’Neal is no Cary Grant, and the film is a mixed comedic bag which tries to cover way too much territory in its 94-minute non-stop running time (though audiences at the time loved it, and it made a boatload of money).

The opening sequences — in which we first meet Streisand’s Judy and she finds all sorts of creative methods for weaseling her way into the life of staid Howard Bannister (O’Neal) — are the best, particularly as we see her ably charming Pendleton’s toothy philanthropist:

… and infuriating O’Neal’s insufferably stuffy fiancee (Kahn, in her film debut).

A central running gag about four matching plaid bags — which each contain something incredibly valuable to its owner, and get instantly mixed up — manages to incorporate a slew of supporting characters who will stop at nothing to get the bag they believe they’re looking for or own.

Among the film’s many comedic “situations” are Streisand dangling outside of a hotel balcony (it should be noted that this was the “first American film to credit the stunt people in the credits”):

… an elaborate (and destructive) car/bicycle chase through the streets, stairs, and wharfs of San Francisco:


… an interrupted reception in a fancy gallery space:

… and a court case with a pill-popping judge.

It’s easy to see why audiences had so much fun with this madcap comedy, but it’s not must-see viewing other than for Streisand fans.

Notable Performances, Qualities, and Moments:

  • Barbra Streisand as Judy Maxwell
  • Madeline Kahn as Eunice
  • Austin Pendleton as Frederick Larrabee
  • Colorful sets and cinematography
  • Fun use of San Francisco location shooting

Must See?
No, though it’s worth a look simply for Streisand’s performance.

Links:

Way We Were, The (1973)

Way We Were, The (1973)

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“It was never uncomplicated.”

Synopsis:
Years after a Marxist anti-war agitator (Barbra Streisand) falls for a WASP-ish, politically neutral aspiring writer (Robert Redford) in college, the two meet up and begin a challenging love affair and marriage.

Genres, Themes, Actors, and Directors:

  • Barbra Streisand Films
  • Flashback Films
  • Historical Drama
  • James Woods Films
  • Marital Problems
  • Patrick O’Neal Films
  • Robert Redford Films
  • Romance
  • Star-Crossed Lovers
  • Sydney Pollack Films
  • Writers

Response to Peary’s Review:
As Peary writes, “Robert Redford and Barbra Streisand have truly amazing chemistry in this irresistible… deeply moving movie romance” in which “we come to really sympathize with their characters, to understand their need for each other, to realize that the reasons they aren’t totally compatible… can never be resolved.”

He points out that “the characters are believable and their problems are compelling;” indeed, “the two stars have never been better.” He notes that “as in the best romances, there are laughter and tears by the bucketful” — including “when the crying Katie (Streisand at her most lovable and vulnerable) calls Hubbell [Redford] to ask him to take her back”:

… “when they break up in the hospital”:

… and “when they meet years later in New York.”

In Alternate Oscars, Peary nominates this as one of the Best Pictures of the Year, nominates Redford as one of the Best Actors of the Year, and names Streisand Best Actress of the Year. He points out that she plays a woman “who has such heart, such sensitivity, such dedication to unpopular causes” and “never lets up for a minute, never relaxes just to enjoy life, never stops trying to better the world and their relationship, never stops prodding Hubbell to fulfill his early ambitions to be a novelist.” The result is that we “feel emotionally drawn to her every moment she’s is on the screen — after all, she’s always walking a high wire and Hubbell has taken away the net.”

He notes a few more of Streisand’s “wonderful, truly memorable moments” in the film — including “a scene in college writing class” as Katie “is ripped apart when the professor doesn’t choose to praise or read aloud her much-suffered over essay, yet despite her own disappointment she still listens to the professor praise and read Hubbell’s introspective story and looks at Hubbell with new appreciation and understanding.”

Later on, Peary writes he loves “Streisand’s expression when she realizes that the drunken Hubbell, whom she has not seen in seven years, has crashed in her bed” and “she daringly strips and climbs in next to him.”

He also calls out the emotional “screening-room scene, when Katie confronts Hubbell about his affair and his trashy movie” and finally says, “Oh, I want… I want… I want us to love each other.”

Indeed, The Way We Were may be the ultimate film about a couple who love each other, but mutually recognize they simply can’t stay together as romantic partners; anyone who’s been through this will surely resonate with the storyline here, and feel gratitude that neither individual is ever demonized for their stance. These are simply radically different people with divergent goals, who also happen to be attracted to and care for one another. Theirs is a sweet, heartbreaking story that hasn’t aged, and remains compelling.

Note: Watch for James Woods in an early supporting role as Streisand’s college prom date.

Notable Performances, Qualities, and Moments:

  • Barbra Streisand as Katie Morosky
  • Robert Redford as Hubbell Gardiner
  • Harry Stradling, Jr.’s cinematography
  • The haunting title song

Must See?
Yes, as a still-powerful romantic drama.

Categories

  • Genuine Classic

Links:

Othello (1965)

Othello (1965)

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“Let us be conjunctive in our revenge against him.”

Synopsis:
When evil Iago (Frank Finlay) finds out Cassio (Derek Jacobi) has been promoted ahead of him, he seeks revenge on his Moorish military commander, Othello (Laurence Olivier), by convincing him his wife Desdemona (Maggie Smith) has been having an affair with Cassio.

Genres, Themes, Actors, and Directors:

  • Cross-Cultural Romance
  • Homicidal Spouses
  • Jealousy
  • Laurence Olivier Films
  • Maggie Smith Films
  • Play Adaptation
  • Race Relations and Racism
  • Shakespeare

Review:
Stuart Burges’ faithful screen adaptation of the British National Theatre Company’s staging of Othello was the first cinematic version of this play to be filmed in color, and remains notable for featuring Olivier in a disturbing form of blackface.

Indeed, Olivier’s choice of characterization (he also lowered his voice, developed an accent, and shifted his walking gait) caused controversy that persists today; see here to read about a music professor who was censured for showing this film at the University of Michigan. Olivier’s appearance is shocking at first — but the larger problem is that his critically lauded performance (Peary nominates him as one of the Best Actors of the Year in Alternate Oscars) is far too overbearing. While Finlay nicely underplays, Olivier comes across as positively apoplectic and childish.

Faring much better is Smith as Desdemona, projecting just the right amount of love and loyalty injected with righteous confusion and fear.

Overall, the film suffers from being too much of a filmed play; regardless of what one thinks of the performances, the storyline remains as stagy as it was designed to be. In contrast, Orson Welles’ low-budget adaptation is a revelation of cinematic possibilities.

Watch for Derek Jacobi in his screen debut as Cassio.

Notable Performances, Qualities, and Moments:

  • Maggie Smith as Desdemona
  • Frank Finlay as Iago
  • Geoffrey Unsworth’s cinematography

Must See?
No; this one is only must-see for Olivier fans or Shakespeare-on-film aficionados. Listed as a film with Historical Importance and a Personal Recommendation in the back of Peary’s book.

Links:

Funny Girl (1968)

Funny Girl (1968)

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“Hello, gorgeous!”

Synopsis:
Broadway phenomenon Fanny Brice (Barbra Streisand) reflects back on her legendary rise to fame work for Flo Ziegfeld (Walter Pidgeon) while engaging in a troubled romance with her gambling husband (Omar Sharif).

Genres, Themes, Actors, and Directors:

  • Anne Francis Films
  • Barbra Streisand Films
  • Biopics
  • Gambling
  • Marital Problems
  • Musicals
  • Omar Sharif Films
  • Romance
  • Singers
  • Strong Females
  • Walter Pidgeon Films
  • William Wyler Films

Review:
Barbra Streisand tied with Katharine Hepburn and earned an Academy Award in her cinematic debut as Fanny Brice, a role she had inhabited previously on Broadway. While she was purportedly a challenge to deal with on set, Streisand’s performance throughout is top-notch, and she clearly knew how to portray herself in the best light (literally).

Sharif (despite much controversy over being Egyptian during a tense time in world politics with this nation) is nicely cast as her handsome husband, who appreciates her talents while understandably wanting to make his own way in life.

Their scenes together are never uncomfortable, despite knowing the ultimate trajectory of their marriage. Pidgeon is appropriately old-school as Ziegfeld (thank goodness Fanny stands up to him in a pivotal early scene):

… and Oscar-nominated Kay Medford is fine if underused as Fanny’s Jewish Mama.

More egregious is the severely truncated presence of Anne Francis as Fanny’s friend Georgia James (seen below on the left) — though at 2.5+ hours long, the film does already feel lengthy enough.

Film fanatics will surely want to check out this beautifully produced musical (directed by William Wyler) for its historical relevance, and to see Streisand in the role that defined but never constrained her.

Notable Performances, Qualities, and Moments:

  • Barbra Streisand as Fanny Brice
  • Fine musical numbers
  • Harry Stradling’s cinematography

Must See?
Yes, for Streisand’s breakthrough cinematic performance.

Categories

  • Noteworthy Performance(s)
  • Oscar Winner or Nominee

Links:

Alfie (1966)

Alfie (1966)

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“You’ve got to live for yourself in this world, not for others.”

Synopsis:
An inveterate womanizer named Alfie (Michael Caine) seduces and then abandons or neglects one “bird” after the other — including a fun-loving married woman (Millicent Martin), a subservient young woman (Julia Foster) who becomes pregnant with Alfie’s child, a red-headed runaway (Jane Asher), a beautiful nurse (Shirley Anne Field), a middle-aged American (Shelley Winters), and the wife (Vivien Merchant) of a man (Alfie Bass) Alfie meets during his time at a sanitorium.

Genres, Themes, Actors, and Directors:

  • Character Study
  • Denholm Elliott Films
  • Michael Caine Films
  • Play Adaptation
  • Shelley Winters Films
  • Shirley Anne Fields Films
  • Womanizers

Review:
Michael Caine earned his first Oscar nomination performing the title role in this adaptation of Bill Naughton’s 1963 stage play, about a deeply self-serving man who objectifies women and lives purely for his own pleasure. Alfie refers to women as non-gendered “birds” (“She or it — they’re all birds.”) and genuinely believes that “any bird that knows its place in this world can be quite content.” He turns and talks directly to the camera throughout the film, as though everyone watching will be deeply interested in every detail of his life:

… and he possesses absolute confidence in his words. He explains to us, for instance, why he sees no problem in having a secret affair with a married woman, given that, “We’re having fun. Why hurt him? You like to see everybody happy. I don’t believe in making anybody unhappy or in making an enemy. You could be crossing the Sahara desert, and he’d be just the bloke you’d meet.” Indeed, Alfie knows all the tricks of enjoying life without getting into too much trouble — which includes simply dumping his latest fling-on-the-side (Martin) without telling her he’s about to do so.

Meanwhile, back on the home front he lives with a submissive woman (Foster) whose primary care in life is ensuring her man is happy: “Did you enjoy yourself? That’s the main thing.”

When Foster gets pregnant and decides to keep the baby, we can’t help cheering for her tentative courage, while also making note of Alfie’s dismissiveness — until a boy arrives and he decides he likes at least the fun portions of parenthood.

A particularly challenging entanglement occurs when Alfie seduces the lonely wife (Merchant) of his sick friend (Bass), and she gets into a type of trouble that can’t simply be ignored away; her predicament leads to a chilling sequence (featuring Denholm Elliott in a key role) that was kept out of the 2004 remake with Jude Law.

Another interlude shows Alfie slyly picking up a beautiful but sad young woman (Asher) who gets through her grief at losing her previous lover through staying busy with cooking and cleaning; she puts up with everything Alfie throws at her until he finally reads her journals — “You ain’t entitled to your secret thoughts, not living with me!” — and she realizes she’s had enough.

So it goes with each of the women in Alfie’s life. He does finally meet his match in Winters’ brash Ruby, who enjoys commitment-free sex as much as him — but he comes to realize that his position with her isn’t as secure as he realized. If you don’t mind spending two hours with a narcissistic womanizer like Alfie, you’ll surely enjoy this nicely photographed flick (directed by Lewis Gilbert) — but I don’t believe it’s must-see for all film fanatics.

Note: That painting on the wall to the left in Winters’ apartment — “Green Girl” by Vladimir Tretchikoff — turns out to be one of the most famous mass-produced prints in art history; it’s also seen in Hitchcock’s Frenzy (1972).

Notable Performances, Qualities, and Moments:

  • Michael Caine as Alfie
  • Julia Foster as Gilda
  • Vivien Merchant as Lily
  • Shelley Winters as Ruby
  • Otto Heller’s cinematography
  • Sonny Rollins’ score

Must See?
No, though it’s worth a one-time look for Caine’s performance, if you can stomach it.

Links: