Alice's Restaurant

ALICE'S Restaurant (3+ outta 5 stars) Maybe not one of the best movies of the '60s but it is definitely worth checking out... as a sort of time capsule if nothing else. This was an "establishment" movie designed to cash in the popularity of the then-popular folk song by Arlo Guthrie. They got Arlo to star as himself... as well as several of his actual friends and acquaintances of the time... even the actual police officer who arrested him for the incident described in the song. Considering its mercenary intent the movie is a lot better than it has any right to be. This may not be one of director Arthur Penn's best movies but he definitely gets the most out of the concept. Guthrie now says that the movie is more of a version of what the straight world *thought* the hippie movement was all about rather than what it was *actually* about... with that in mind the movie still paints a pretty good picture of the times. Guthrie is a low-key performer but he definitely has some screen charisma... resembling a baby-faced Bob Dylan at times. This could be considered one of the first full-length motion picture music videos.

Those who write complaining that the movie isn't like the song are missing the point. The movie isn't about the song, nor is the movie supposed to be based around the song. The movie merely includes the song - and some events in Arlo Guthrie's life in the 1960s. Get over the fixation about the song and you might begin to see what the movie is about.

Alice's Restaurant is about life and loss, and the traps we allow ourselves to get caught up in. It's about addiction, youth, anarchy, death, and aimlessness. It's a celebration and a lament for all those things.

I remember back in the 80s my Mom rented this movie and from the cover and title I didn't think I'd like it. Not only did I like it, but I now watch it every Thanksgiving season. I've always liked Arlo Guthrie's music and the soundtrack is excellent, featuring the title track which tells this true story. It's quite a fun movie, laced with moments of very serious elements like Woody, Arlo's dad, in the hospital. The scene in the hospital with Arlo and Pete Seeger singing the Car Car song to Woody in the hospital was very heartwarming. The characters are all colorful and enjoyable to watch and very typical of the folk scene in the late 60s, just before I was born.

***1/2 (Out of 4)

Except for the bloody politician's war in Vietnam, I still have some affection for the '60's. The period was certainly a liberating experience from the uptight 1950's. However, viewed now apart from the hype of the time, Penn's movie has not worn well at all. It does convey something of the communal spirit of the day; plus the sweet-faced Guthrie has an appropriately congenial screen presence. But too many passages now seem pointlessly meandering, having lost whatever topicality they might have had. Another reviewer's comparison of the film with that of a home movie captures, I think, the basic flaw.

Nonetheless, the movie manages a couple of amusingly revealing episodes. It's no surprise for the '60's, that both have to do with authority run amok. First the cops go to absurd lengths to convict Guthrie of littering, of all things; then in the film's highpoint, the tyrannical army- processing center treats him like a criminal. Though done satirically, each represents a popularly rebellious attitude of the time. Then too, unlike the rest of the film, the impact here is structured for effect.

One other noteworthy point—it's no accident, I think, that it's a church the youngsters convert for their purposes. This can be understood as another subversion of authority by replacing the formal rules of authoritarian religion with those of the more easy-going humanism established by the communal restaurant. (At the same time, the sacramental wine of the former is replaced by a ceremonial joint that gets passed around.) Of course, without anything like formal rules, a downside is revealed once Alice ends up doing all the restaurant work, which the others happily shirk.

The ending remains something of a puzzle. I take the forlorn bride (Alice) as a comment on the Hollywood cliché of 'they lived happily ever after'. Shrewdly, Penn doesn't want to leave us with the impression that a hippie ethic solves all social problems. Anyway, seeing the movie now, I realize how far into obscurity it has sunk after the big splash it made on initial release. For a much more entertaining and insightful glimpse of the period, check out Hal Ashby's mordant black comedy Harold and Maude (1972).

I had all but forgotten about the film of "Alice's Restaurant", which was inspired by (as opposed to based on) Arlo Guthrie's classic and comic song of the same name. Viewing it again on DVD made for a curious experience.

Midway through the film, director Arthur Penn (fresh off of "Bonnie and Clyde", I believe) literally shoots the events on which the song is based, and they are if anything even more amusing on screen than on record. However, anyone expecting the film itself to reflect this tone overall is in for a surprise.

By the time Arlo (playing himself) has his litter-inspired run-in with the draft board (which is, again, hilarious) we have come to know him as one of a commune-like group of people in Stockbridge which is more or less centered around Alice and Ray. The two live unconventionally with their friends in an unused Church. Alice seeks to add some stability to her life by opening a restaurant, which she does successfully with the help of friend Arlo's jingle. She and Arlo are the only members of their group who look beyond the aimless lifestyle of the members of their commune, who are content to meander through life riding motorcycles and getting stoned. We see Alice affected by the drug-inspired struggle and death of addict Shelley and Arlo affected by the long illness and eventual death of his father, Woody Guthrie. Perhaps their emotional connections to their lost loved ones are what clue them in to the shallowness of the lives around them. But if Arlo has his music to move on to, Alice is fairly glued to her life with the stoned-out Ray, their friends and her restaurant. It is with great sadness indeed that she watches Arlo ride off to resume his life on the road.

The point made about the trappings of the Hippie lifestyle being so unfulfilling are well ahead of their time when juxtaposed with other movies of the era and are actually quite haunting. The problem is that they make the wonderful recapping of the events surrounding Arlo's writing of the song seem out of place. This shift in tone is never quite reconciled by director Penn, rendering the film more of a curiosity than a success.

In addition to the now-fabled Thanksgiving sequence, highlights include James Broderick's lively performance as Ray, Pat Quinn's understated one as Alice and Guthrie's ever present charm and humor. It is also a wonderful bonus to see Arlo perform his father's "Pastures of Plenty" and "Car Song" with the wonderful Pete Seeger. (That's folk music producer Harold Leventhal as Woody's manager.) The film itself is ultimately as ramshackle as the group whose story it tells, but if the era means anything to you you will find it worth watching.