Following its premiere at the Plaza Theatre in the West End of London on 24 March 1966, the film became a box office success, enjoying critical acclaim, and influencing British cinema.

The narrative follows a young, womanising man leading a self-centred life, focused on his own enjoyment until events force him to question his uncaring behaviour, his loneliness, and his priorities.

Alfie Elkins, a handsome, self-centered, narcissistic Cockney chauffeur in London, enjoys the sexual favours of married and single women while avoiding commitment.

When a health check reveals Alfie has tubercular shadows on his lungs, the diagnosis and his fear of death, combined with his separation from his son, lead him to have a brief mental breakdown.

Alfie spends time recuperating in a pastoral sanatorium, where he befriends Harry, a fellow patient, a family man devoted to his frumpy wife, Lily.

Released from the convalescent home, Alfie briefly stops working as a chauffeur to take holiday photos of tourists near the Tower of London.

Coming home with a black eye, Alfie grows resentful of Annie and drives her out with an angry outburst, immediately regretting it.

[2] Vivien Merchant was a last minute replacement for Rachel Roberts, who had to drop out because her father was ill.[4] It was shot at Twickenham Studios with scenes shot at several locations in London;[5] including Waterloo Bridge which is seen at the beginning and end of the film where the title character walks into the distance accompanied by a stray dog[6] and Tower Bridge which is the backdrop for the photography scene with Shelley Winters.

The original film soundtrack featured jazz saxophonist Sonny Rollins with London musicians including Stan Tracey on piano, who improvised "Little Malcolm Loves His Dad" (although never credited), Rick Laird on bass, Phil Seamen on drums, Ronnie Scott on tenor sax.

The site's consensus states: "Anchored by Michael Caine's charmingly droll performance, Alfie is an equally raucous and heart-rending portrait of romance in the Swinging '60s.

"[9] Bosley Crowther, film reviewer for The New York Times, singled out Vivien Merchant's acting for particular praise: There must be an abortion—a miserable and tragic thing, which Lewis Gilbert, who produced and directed, makes us sense in all its shabbiness and shame.

But it is the performance of Miss Merchant as the woman brought to this shame, stunned and saddened by the necessity, deadened by her grief, that shocks us into feeling contempt for Alfie—and all the free-wheeling Alfies in this world.