Alice Não Mora Mais Aqui

I actually prefer this film to Mean Streets or Raging Bull. Ellen Burstyn was always a personal favorite and she is absolutely brilliant as Alice. This film bears no resemblance to the sitcom that would spin off from it. This is a textured, touching and humorous look at a woman's journey BACK towards independence. It is far superior and a much more mature film than, say, Thelma & Louise. If you're looking for female "empowerment" movies. Alice is reality. The fine cast also includes, Harvey Keitel and Diane Ladd. Both in fantastic performances. This is just a great movie and very overlooked. If you're getting into Scorsese, don't miss this one!

Ellen Burstyn could play a tree stump and make it interesting. She's one of the unsung heroes of post-studio cinema. At a time when meaty women's roles were becoming more and more scarce, Burstyn was fighting for and winning one great part after another. She's probably never been better than she is here, though she showed tremendous range in "Same Time, Next Year" and gave one of the most heartbreakingly harrowing performances I've ever seen as recently as 2000, in "Requiem for a Dream." Women's picture and Martin Scorsese are not two phrases that would seem to be tailor made for each other, but a terrific women's picture is exactly what Scorsese gives us with "Alice..." Though I hate using the term women's picture, as if men can't enjoy stories about women, or as if women's pictures are isolated from the rest of "real" movies. Actually and ironically, maybe it was Scorsese's penchant for the tough-guy milieu that made him so right for this film, because "Alice" doesn't suffer from the burn-your-bra self-righteousness of other women's lib movies of its era, like "Un Unmarried Woman." These other films ultimately feel phony, because they were created for the most part by men, who, however noble their intentions, simply didn't have an understanding for the material. But Scorsese gets the character of Alice, and Burstyn knows exactly what she's doing. So the conflict isn't between Alice and the male world, but between the Alice who doesn't have the confidence to be anything other than a doormat and the Alice who wants to make a life for herself on her own terms.

There are some hilarious scenes between Alice and her son in this film, most particularly the scenes of them driving to California (like when Alice calls him Hellen Keller because he keeps asking "what?" to everything she says). Also, a subplot about the evolving friendship between Alice and Flo (played by Diane Ladd) becomes one of the film's highlights, not in the least because both actresses handle it expertly.

This is a winner, and must be seen by anyone who thinks Scorses is out of his element anywhere but the mean streets of NYC.

Grade: A

Starring the incomparable Ellen Burstyn, giving an Oscar-winning performance (one of the finest of the 1970s), this comedy-drama is gritty and tough, but never off-putting. After her husband dies, 35-year-old Alice Hyatt from New Mexico and her smart-mouthed 11-year-old son (Alfred Lutter) take to the road, chasing her girlhood dream of finding songbird success in Monterey, CA. They get stuck in Phoenix, where she meets up with a frightening working-stiff in a cowboy hat (Harvey Keitel). Later, waitressing at Mel & Ruby's Cafe in Tucson, she meets a gentle farmer (Kris Kristofferson) who's had his share of heartbreak. Perceptive, amusing, knockabout film regarding ordinary people trying to make it, episodes in their lives that enrich or derail them. Alice and her son have a wonderfully natural give-and-take, and the oddballs they meet on their odyssey (like Jodie Foster's shoplifting tomboy or the sweet, overweight cowboy who gives Alice a singing job) are deliciously silly, yet incredibly real. Burstyn is a joy cutting up with her neighbor in the backyard, having a Coke fight with her kid in a seedy motel, trading quips with Diane Ladd's salty Flo in the diner. Some critics complained that the happy ending felt tacked on, but you come to respect Alice and her choices, and most of the film's little faults are camouflaged by director Martin Scorsese's bittersweet framing and Robert Getchell's vivid screenplay. Far superior to the TV sitcom, "Alice", which quickly followed.

I loved this movie when I saw it in its initial release - after "The Exorcist", I thought Ellen Burstyn ruled the world. This movie is still good today, has many interesting and funny characters. There are touches that suggest director Martin Scorsese was still getting familiar with actors and camera movement - when Alice cries at an audition in a bar, and goes to another bar because they have a piano..its Marty all the way. Harvey Keitel & Jodie Foster are in the movie in small parts; maybe they were having their own audition - for "Taxi Driver". Diane Ladd is very funny as filthy-mouthed Flo, but Ellen Burstyn is fantastic in the part that won her an Oscar against some pretty stiff competition - Faye Dunaway in "Chinatown" among them - and she holds the movie together.

People forget that "ALICE DOESN'T LIVE HERE ANYMORE" is a Scorsese film. Look at it again and you'll see it is one hundred percent Scorsese. Totally focused on a female character. I read somewhere that Ellen Burstyn asked Scorsese "How well do you know women" and Scorsese replayed "Not well at all, but I'm willing to learn" The portrait of Alice adds something to film female characters that had never been present on the screen before. All those Joan Crawford fighting working class women seem like a joke compared to Ellen Burstyn's Alice. Jodie Foster steps into the screen with a funny, touching BANG. If you've never seen this film, hurry up! If you've seen it, see it again.