Acting under the cover of a Hollywood producer scouting a location for a science fiction film, a CIA agent launches a dangerous operation to rescue six Americans in Tehran during the U.S. hostage crisis in Iran in 1980.
British retirees travel to India to take up residence in what they believe is a newly restored hotel. Less luxurious than its advertisements, the Marigold Hotel nevertheless slowly begins to charm in unexpected ways.
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
According to director Charles Shyer, in the shot where Alfie (Jude Law) punches a car windshield, Law actually cracked the windshield. Apparently, the actor wasn't able to put as much effort into punching it until Shyer told him to imagine that it was the paparazzi. As a result, Law punched so hard that a sledgehammer had to destroy the cracked windshield. 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 Paramount logo at the beginning of the film is tinted pink. See more »
First of all, I would like to start by saying I HAVE NOT SEEN THE ORIGINAL. A lot of the reviews here of this movie are just snide derision based on a bias set in place by the original film. I will also admit to buying my ticket solely because I had had a bad day and just wanted to relax with a 30 foot tall Jude Law winking at me in the audience and taking his shirt off a lot. I'm not ashamed. But what I got was something far more substantial. And of course there was the pleasantness of a half naked Jude Law, but there was also depth. A glimpse into the nature of the human psyche. What we do and why we do it, and ultimately: what it gets us in the end. Or rather, how it gets us.
As I understand it, Caine as Alfie was a hell of a lot harder and brassier than this modern day version. To the extent at which his sexually-charged chauvinistic ideals would have put major rock stars to shame and surely cost the studio more than a little bank in complaints filed against it by today's slightly more feminist audiences. Some have said that by watering our hero's womanizing tendencies down a bit, the entire heart of the film is lost. I say this is not so. It makes you stop, makes you evaluate where you are in life and where you're going. And what the hell you're doing. Anybody can see a little Alfie in them, and trust me, it's scary as hell. But it's a wakeup call. A tool, if you will. You leave the theater feeling like you've learned something and you'll think about it all the way home. How often do you leave a movie and get that much out of it?
Don't judge it by the original. Trust me, he's still a very bad boy. But he's sympathetic and insightful enough to make you wonder. Let it stand on it's own merit, and not by the standard Caine put in place 40 years ago. They're two different movies. Give it a chance.
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