Ellen Burstyn, Kris Kristofferson, Billy Green Bush

When Alice Hyatt is suddenly widowed after years of domesticity, she decides to travel to Monterey, California with her 11-year-old son Tommy to resume a singing career. In Phoenix, Arizona she gets a...( read more  read more... ) job singing at a piano bar and begins a relationship with Ben, who turns out to be married and a spouse abuser. In Tucson, she puts her dream of singing on hold and becomes a waitress. She meets a farmer, David and begins to think about a new life of domesticity.

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PG, 1 hr. 53 min.

Directed by: Martin Scorsese

Release Date: January 1, 1974

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DVD Release Date: August 17, 2004

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Flixster Reviews (394)


  • September 4, 2009
    Great Scorsese film, with a superb cast. The relationship between mother and son is fantastic to watch and at times hilarious. I really liked the TV spin off show that came from this film too, it was on channel 4 at 6.00pm during the 80's and my sister and I never missed an episode!
  • February 3, 2009
    This is not your typical Scorcese film, leaving New York City out of the picture altogether in favor of the rural southwest. Burstyn won a much-deserved Oscar for her portrayal of Alice, a lady who packs up her son and heads for a new life with her barekly-tolerable son. She meet...( read more)s and leaves Scorcese favorite Keitel before settling down at a small motel and working at Mel's Diner, which is just next door. Kris Kristoferson shows up as the "perfect man" in her life...or is he? The film really keeps up a good, not-too-slow pace and keeps you guessing about it until the end. Not Scorcese's best, but still excellent anyway.
  • January 4, 2009
    In 1974 Martin Scorsese followed a road less traveled and made the drama Alice Doesn't Live Here Anymore, which is about a thritysomething housewife (Ellen Burstyn) who loses her husband in a traffic accident and decides to go back to singing in Monterey California taking her 11 ...( read more)year old son Tommy (Alfred Lutter) along. As they get into Tuscon she finds that singing engagements are hard to come by and starts working in Mel and Ruby's Diner as a waitress where she meets David (Kris Kristofferson) with whom a romance begins.

    Alice Doesn't Live Here Anymore opens with what could be called an odd homage to the Wizard of Oz. Instead of a tornado carrying the little girl from her home its a marriage to an indifferent man and parenthood. Ellen Burstyn, fresh off her Exorcist gig plays Alice as the local rube who doesn't know life outside the nuclear family. It's a jungle out there. The only real sensible relationship she has between leaving her home and Mel's Diner is the sage advice of a veteran waitress named Flo (Diane Ladd) who gives her homespun advice that actually makes sense especially in her relationship with David.

    Alice as a whole is a depressing story about a woman whose life is turned upside down and as she tries to catch her dreams she keeps getting stomped on. Yet Scorsese throws humor in throughout the movie as a way to counteract the drabness that has been thrust upon them with most of the good lines going to Tommy. People who complain about Tommy being too annoying have obviously not been around any 11 year old boys lately.

    This is one of those Scorsese curves that he throws at us from time to time. Alice was wedged between Mean Streets and Taxi Driver almost as a way to drive into the ditch and try something different.
  • April 7, 2008
    The world just shits all over Ellen Burstyn in this surprisingly stylish and touching film by Martin Scorsese
  • March 12, 2008
    Really charming film with a wonderful script. It kind of reminded me of "Terms of Endearment".

    Great performances all around... the kid was wonderful, although he was an obnoxious little brat. Ellen Burstyn was wonderful, but at times unpleasant to watch because she was an over ...( read more)the top emotional wreck. I guess, coming from the male perspective, I don't feel as much sympathy as a female would for the character.
  • October 16, 2009
    this one is didn't great of the scorsese's film and but im not really huge fan of any romance and a drama movie. so this film is little bit of boring and the most all "exorcist" star ellen burstyn, kris kristofferson, and the rest of cast of character of this film is so annyoing ...( read more)in performance and so that all i can say. i see some of with 3 cast who from of scorsese's next film in "taxi driver".
  • October 11, 2009
    One of Scorsese's earliest works, "Alice" is not one of the director's strongest stories either dramatically or artistically, but it does introduce us to a great performance by Ellen Burstyn and her interesting little son (Alfred Lutter, who never pursued an acting carreer and st...( read more)ill lives in California... selling software to banks...!). Tucked between "Mean Streets" and the "Taxi Driver", "Alice" is a worthy addition to Scorsese's filmography but not one of his masterpieces.
  • September 27, 2009
    again,another scorsese underrated gem.this,and that movie called after hours should be his classic,not that movie about a boxer,or some lunatic taxi driver,or a joe pesci-gone-mad-mafia-movie. maybe it's scorsese image of the maker of 'guy' movie that makes this movie gone overlo...( read more)oked by many.this is funny and inspiring !(at least for all the single mother out there,don't give up!).haha and i didn't realize there's Jodie Foster in this!
  • September 6, 2009
    This is one of Martin Scorsese's best films, and is very unlike what you would expect from him. It's hard to believe this followed Mean Streets! Alice is a very sensitive film, with a strong feminist storyline. Ellen Burstyn gives a brilliant performance and she very much deserve...( read more)d her Oscar for this. Very real and believable. Remarkably perceptive with an outstanding screenplay, cinematography and score. A remarkable film.
  • July 17, 2009
    Delightfully humane-- if you showed me this film without telling me that the king of tense macho New Yorker stories directed it, I would never be able to guess who did. It's true : Scorsese is surprisingly comfortable at handling a story about an independent woman travelling acro...( read more)ss the Southwest to forge an identity for herself, beyond the expectations and demands of men. Back in 1974, the man had only directed three films, so perhaps it wasn't quite as surprising to the public as it it to me by now-- but after decades of gritty urban dramas about self-destructive men stuck in suffocating situations, we have come to expect something a least a bit formated about The Martin Scorsese Picture... and I do not mean that in a pejorative sense, not in any way.

    Either way, Alice Doesn't Live Here Anymore remains a shocking opposite of his usual work, and if it isn't a perfect picture on its own, one can say it is very much the kind of film whose flaws cannot be dismissed because they are part of an intensely compelling whole. For starters, it is dominated by a phenomenal lead performance by Burstyn, whose vitality, conviction and vulnerability earned her a much-deserved Best Actress Oscar. She is onscreen for practically every scene, and she occupies the frame with an intensity that can't quite be described with words-- but inhabiting a woman whose dreams have failed, and then who finds in a tragic situation the opportunity to rekindle those aspirations (even if it means to give inhuman efforts in the proceedings) and reclaim her own freedom is miraculously free of any kind of miserabilism. It is very much one of my favorite performances of all time-- from Burstyn's body language and delivery, you can absolutely feel a connection with the dreamy avant-garde opening scene establishing how much her childhood fantasies have vanished over the last 27 years.

    Built out of short scenes that cut abruptly for the most part and devoid of a common dramatic crescendo, the film has an interesting spin on the 'road trip' structure. Without spoiling any major plot point, Alice slowly comes to understand that she is done with having a man tell her what she oughts to be as a person, and she comes to accept that there is no knight in shiny armor (or Robert Redford) that is bound to save her. Her travels bring her to understand that there will always be somewhere (or someone) else to crave, and that a companion will always, always be necessary. The journey will last until you die-- and if she is able to make the world a better place for those that surround her (if they are willing to do the same), then perhaps this harrowing struggle has a purpose, after all. All of this is not a revolutionary statement, especially from a so-called feminist P.O.V, but it's made clear and it is delivered with a great deal of strangely impressionist honesty.

    If the dialogues between Alice and her son Tommy sometimes feel a bit forced, and if the screenplay gives a feeling of floating uncertainty in its middle third, there are more than enough outstanding elements to counterbalance those minor flaws. Scorses brings his all, and with flourishes that range from the sublime aforementionned introduction to the stuffy, exciting atmosphere of the Diner at which Alice ends up working, the film still remains by today a lovely and captivating story made even more awe-inspired by its central powerhouse performance.

Critic Reviews


October 23, 2004
Roger Ebert, Chicago Sun-Times

The movie's filled with brilliantly done individual scenes. full review

View more Alice Doesn't Live Here Anymore reviews at RottenTomatoes.com

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