Terrific story about a mother and son. It never gets boring, it has comedy and drama, all the characters are interesting, and a nice ending. The only question I have is: why did they show her when she was a kid? It didn't have anything to do with the rest of the movie, did it? Anyway, this is a good movie, and I would recommend it.
The greatest movie of 1974, Alice is a tale of a struggling woman who goes on a road trip and ends up at a diner. Inspiration for the hit TV series, Alice.
I finally got a chance to see this, and it is one fantastic film. Ellen Burstyn is amazing, as is Diane Ladd in the role of Flo. What makes it transcend most other films that drown in melodrama is the realistic treatment of its characters.
Scorsese addresses his feminine side in this no-frills-attached depiction of female solidarity. Set during the peak of America's female revolution, this film outlines the difficulties small town women faced in their transition from dependence to self reliance in a time when misogynism was a norm, and the man was the king of the castle. Burstyn's performance as Alice is top notch, capturing her strengths, weaknesses, hopes and desires in a way that makes the viewer connect with her immediately. Her relationship with her young son, Tommy, is again realistically touching. Tommy ultimately represents the next generation of American men, brought up by these independent women and influence by strong-willed, unconventional female peers. In the insightful words of Bob Dylan, the times they were a-changin'.
If you hadn't told me this was a Scorsese movie, I'd have never guessed. Women generally don't fare too well in Marty's flicks, so it was great to see a movie with a focus on a female character trying to find independence in a society that was still redefining just what that meant. Ellen Burstyn is superb in this; the scenes with her and her son or her and Kristofferson or her and Ladd are filled with warmth and humor. We get a little glimpse of the Scorsese we know so well in Keitel's brief but frightening presence. The best non-gangster/brute flick I've seen from Scorsese, I would love to see him tackle another female-driven story reflecting current society. Another example of why he's one of the best directors ever.
great early effort from scorsese, and showing he can handle a strong story with a women lead, some nice scorsese tricks on show, and his usual knack of putting great music in, a strong acting role from ellen burstyn and a young jodie foster, and harvey keitel also showing once again, he is a scorsese muse, scorsese went on to great things after this and mean streets, and this shows his early work as vital as his later work
Scorsese's feminist movie is a wonderful character study of a Mother and her son on the road. Burnstyn won the Oscar for her honest and soulful performance. You can clearly see the influence that Cassavetes has made on Scorsese. There isn't a false moment and the realism of the relationships is established early on.
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 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.
I love a movie that knows what it's doing. This one is sort of schizophrenic, when it moves from a pretty bold comedy to a hard-laced drama at the drop of a hat. But, that hat drops with precision, and those changes are just right for the movie. We have a nice slice of reality sort of story here, and the random nonsensical changes happen in real life, too, so when it happens here it feels odd, but right.
This little bit of life is that of a woman, Alice Hyatt, who finds herself suddenly able to pursue her past dreams, with a second chance at life, a second chance to do what she wanted, or change what she wants. This is what she does with those chances, with that change.
Alice is played by Ellen Burstyn, who I mostly know from her brilliant turn as Sara Goldfarb in Requiem for a Dream--now, jumping back 26 years, this was certainly a change. But, I ended up with no tarnish on my image of Burstyn, and thought, "Gee, I hope she won best actress for this,"--which might have been my shoddy memory talking, for she did, and I'd read that before. I was pleasantly surprised and nearly well enthralled by her performance--laugh out loud zingers (which are a rarity for me) were carried out with absolute perfection. The way she'd react and act physically in every situation, and the way she'd say lines, it was perfect. She can turn from tears to laughter easily and quickly and appropriately and smoothly, but by smoothly I again mean in a real way, a believable way, not necessarily an even, sliding transition. She is living a life derailed, as so many were, it seems, by early marriage, separating her from her own desires and dreams. A radical change leaves Alice and her son Tommy on the road to Monterey, where Alice remembers being happy--as we were shown in the intro, a 1.33:1 cropped image that is an amusing homage to The Wizard of Oz. She tries a few towns along the way, dealing with her son who sounds just like a real eleven year old, as everyone sounds like the sort of person they play. Ellen sounds like a woman who never, as she herself admits, learned to live without a man in her life. She's stronger than she realizes--when a typically explosive Harvey Keitel appears as domineering husband Ben Eberhart, she reacts timidly, certainly, but that seems like the smart thing to do as the situation plays out; however, once Ben leaves the apartment, Alice knows exactly what to do and does it. When David (Kris Kristofferson, as always playing a good ol' country boy, as he himself is) does something she philosophically disagrees with, she gives him what for without ever sinking low, and she takes the strength she's not quite aware she has and she leaves.
The performances were my favourite part, with Diane Ladd as Flo, the ultimate diner waitress, flirting audaciously with the male customers, her hair up inches above her head, and a bold, sarcastic remark to any comment or action she comes across, Kris as David, the gruff ranchman who's the best--but still flawed--man in her life. But, some what more importantly, we see young "Alfred Lutter III" as Tommy Hyatt, Alice's precocious 11 year old son, who is whipsmart, sarcastic, awkward and un-selfconscious in that way a kid just coming up on puberty is. A shame he didn't do too much after this, as the performance here is completely naturalistic without seeming like it's him playing himself. As previously mentioned, Harvey Keitel is, well, Harvey--he's charming and smooth, but can turn vicious at just the wrong move, menacing, intimidating and legitimately scary. The characters all work as real people, none seeming purely good, or evil, or perfect or constantly likeable, just as normal people are--some more acceptable or more evil than others, but none inhumanly so. A testament to the solid script in addition to the acting, as well as the perfectly paced dialogue. When Tommy is irritating, as younger kids can be before they're completely aware of how they sound to others--telling the same obnoxious, unfunny joke over and over and explaining it despite being told to shut up, for instance--we see the irritation, but accept it as part of his nature as an eleven year old, and don't feel outright enmity toward him for it, because he has a peculiar sort of charm.
Scorsese is not in full show here; I see his methodic camera pans and swoops show up every now and then, but perhaps the absence of Schoonmaker and crime are what hides him, but his craft is evident even without his style. The soundtrack (I must find some Mott the Hoople, it seems--and it has Leon Russell, so you know I'm in for it) was very Marty, and played perfectly, as most of his tend to, with the action. Not perfectly cut like "Layla" in Goodfellas (the work of Thelma anyway, methinks, to perfectly synch that one) but fitting, appropriate, and just damn good music.
The final note of consequence was the appearance of Jodie Foster, who I did not, at first, even recognize. She plays the "overly mature" Audrey--"née" Doris--who Tommy meets at guitar lessons, and encourages him to enjoy copious amounts of ripple and steal. She exhibits the same amusing lack of shame that Tommy shows, but is a little less agreeable in the end than he is. I did not mention her as early because my opinion of her soured recently when I read her incoherent criticism of Sin City*. Still, I try to keep those things behind me and look at the performance I'm actually watching, and as always she is one of the most impressive actors around. Shame she's got such a nasty, critical mouth as a real person...
On a final trivial note, for my own amusement, the "production executive" for the film is Larry Cohen. Yes, that Larry Cohen--writer/director of It's Alive and Q, the Winged Serpent. Weird.
*"That was so painfully cartoonish I was offended," says Foster, the mother of two boys, Charles, 9, and Kit, 5. "I don't know how you enjoy or laugh about a child abduction and molestation. What part of that sentence is funny? I can't get beyond that. I don't know if everyone understands the impact of a movie's message." Huh? What is she asking about humour from? Was the child abduction in Sin City "funny" to someone? That person is on drugs. And the message of Sin City was abduct and molest children? Did we see the same--actually no, it says she turned it off halfway, so I'd say we in fact did not see the movie. And how does cartoonishness offend? That sounds pretentious and arrogant to me. Though, really, my major issue is 'I don't know how you enjoy [...] child abduction." OK, Flightplan, OK.
A warm and often brilliantly nuanced film about our incessant search for a home in this world and some of the wonderful and utterly bizarre places where this search may lead. It reminded me of "Nobody's Fool" in its tone, but with Scorsese's masterful infusion of rich and quirky detail, the film often manages to just reach through the screen and pull the viewer into the experience. You can almost smell the cheap hotel rooms, feel the pain of every person in the shot. Not just the "important" characters, everyone. No small parts here, no "background actors". No matter how fleeting the appearance, each one is a rounded human being. Few directors comprehend the importance of such intricate detail and even fewer are capable of materializing it.
A radical departure from the movies we are accustomed to seeing Scorsese make, but all the better for it. The film centres around a great performance from Ellen Burstyn, as the single mother struggling to make it in the world. Particularly good is the acting chemistry between Burstyn and her on-screen son. The fact that this movie is billed as a bittersweet melodrama betrays the fact that it is a very funny film whilst being moving at the same time. Worth seeing as a remedy to all those Scorsese gangster flicks if you ever need a break.
Ellen Burstyn is excellent in her well deserved Oscar winning performance in this really funny and honest comedy/drama directed by Martin Scorsese. The supporting cast are all great and Scorsese's direction is extremely well done. The script is well developed in both its story and the characters. Another really great film that everyone should check out!
One of Scorsese's most unappreciated films. This is much better than any of his recent work, & the acting is top notch, as is usual for a Scorsese film. Very different to what Scorsese is known for, but this proves his versatility as a director. Its a shame that the majority of people only want to see him do gangster films, which is unfair to Scorsese, because he would rather make more personal films that aren't in that genre.
Ellen Burstyn made a crack a while back at contemporary acting ... and how bad it is compared to how it used to be. With that in mind, let's all remember one of the best monologues in the history of cinema.
Sara: I'm somebody now, Harry. Everybody likes me. Soon, millions of people will see me and they'll all like me. I'll tell them about you, and your father, how good he was to us. Remember? It's a reason to get up in the morning. It's a reason to lose weight, to fit in the red dress. It's a reason to smile. It makes tomorrow all right. What have I got Harry, hm? Why should I even make the bed, or wash the dishes? I do them, but why should I? I'm alone. Your father's gone, you're gone. I got no one to care for. What have I got, Harry? I'm lonely. I'm old. Harry: You got friends, Ma. Sara: Ah, it's not the same. They don't need me. I like the way I feel. I like thinking about the red dress and the television and you and your father. Now when I get the sun, I smile.
Now, call me partial, but her Oscar-winning work in Alice Doesn't Live Here Anymore doesn't even COMPARE to the brilliance of Sara Goldfarb. But the verdict is: she can say all she wants about how bad other actors are, until she proves to me that she is capable of not being interesting.
PS -- how is this directed by Martin Scorsese? Doesn't he just make movies about angry men? Guess not.
One of Martin Scorsese's best amd most underrated movies. Not only does it show a rare great female charecter in his movies and his first classic film of his career. It shows how diverse he is as a director. Ellen Burstyn's 2nd greatest performance alone makes it worth seeing.
Delightful movie by Scorsese. I was very young when I first saw it and didn't understand then why I liked it so much. Beautiful film, with gritty, real romance.
This film is undoubtedly well-made, and Burstyn turns in an emotionally moving performance, but it does get a little dull at times. Overall worth a look for Scorsese buffs.
MCT:July 30, 2008
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