I first saw this film as a teenager. I wasn’t super excited when my dad pitched this movie to me. I had seen Taxi Driver and Raging Bull and though I had liked both of them, I found them to be fairly male oriented films. The female characters seemed secondary. My dad countered, telling me that it wasn’t really Scorsese’s film. It was Actress Ellen Burstyn’s.

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Ellen Burstyn had just finished making a little picture called The Exorcist and after seeing dailies, Warner Brothers told Burstyn they wanted to make another picture with her. They sent her several scripts, but in each of them, the woman wasn’t the protagonist. Her agent found the script for Alice Doesn’t Live Here Anymore and Burstyn ended up bringing everyone on board, from producers to Director Martin Scorsese.

If you’re not familiar, Alice Doesn’t Live Here Anymore follows Alice (Ellen Burstyn), a woman in her mid-thirties whose semi-neglectful husband dies suddenly. This leaves Alice with no money and her eleven year-old smart ass son, Tommy (Alfred Lutter III), to take care of. She decides to get back to Monterey, California, where she grew up. But since she has very little money, she stops along the way to save up, meets a couple of men, makes a few mistakes, and in the process finds out who she is and what she wants.

Here are just a few reasons Alice Doesn’t Live Here Anymore is a feminist classic:

The Cast

As I mentioned, this film belongs to Ellen Burstyn. She really was the driving force behind getting it made and in watching her performance, you can see she put a lot of her personal experiences into it. Also, she won the Oscar that year, though she wasn’t there to accept the award. Since she was in a Broadway show at the time, Scorsese accepted the award on her behalf, thanking everyone she had to told him to thank, including himself.

Alfred Lutter III made his feature debut in this film playing Burstyn’s eleven year-old son, Tommy. I’ve talked about him once before in my post on The Bad News Bears. He was only in four films before he retired from acting at the age of fifteen. Still, Lutter made quite the impression, in this film especially. He seemed like a real kid and he could be both hilarious and heartbreaking at the same time.

Funny side story: On the drive to set one day, Martin Scorsese was riding with Alfred. Alfred told Marty a story over and over, asking if he understood. By the time they got to set, Marty was completely annoyed but also thought it was hilarious – so much so that he put it in the movie (seen in the gif below).

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Poor Ellen Burstyn. #IStillDontUnderstandThisStory

Kris Kristofferson was relatively new to film when he played David, Burstyn’s love interest. Scorsese tried to put him at ease, telling him to ignore the script and say the lines in the way that felt most natural to him. He was understated and (even with that crazy beard) incredibly sexy. You just can’t NOT like him.

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A man’s MAN if I ever saw one. #SWOON

Harvey Keitel wasn’t in much of the film, but he certainly made an impression during his few scenes. Keitel played a man Alice meets while working as a singer, but he reveals himself to be CRAY. When I first saw this film, he scared the shit out of me. He still kinda does…

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Keitel is TERRIFYING, amiright?

Diane Ladd was nominated for an Academy Award for her performance as Alice’s co-worker, Flo. When her character is first shown onscreen, she kind of seems like a bitch. The best part is that Flo and Alice’s relationship very organically becomes a friendship and their scenes together maybe mean more than Alice’s scenes with David.

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That hair THOUGH. #1970sStyle

Special mentions:

Two young, very talented actresses. The first is a twelve year-old Jodie Foster. She played Audrey, Tommy’s friend. As with Keitel, her part is not a big one, but she makes a major impression.

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Oh, the 70’s…#shorthairdontcare

The second is actress Laura Dern, who was just seven years-old. She, of course, is Diane Ladd’s daughter and so, was in a scene in the diner, eating an ice cream cone.

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Does your eye spy little Laura Dern?

The Script

The script was written by Robert Getchell, who also wrote Mommie Dearest and This Boy’s Life. This is where the feminist aspect comes in. Although, of course, Robert Getchell is a man, this story was told from a female point of view. It was making a statement about what it was like to be a woman at that time and exploring how we define our happiness as human beings.

There was a major controversy over how to end the film. Burstyn believed the film was about Alice standing on her own two feet without a man by her side. The studio wanted David and Alice to get married at the end. They needed to find a compromise. So, Kris said, “Jeez, if he loves this girl – if I did – I’d just say pack your fuckin’ bags. I’ll go with you” (Kristofferson, Second Chances Doc). I  actually really loved the ending because it wasn’t saying that you needed a man to make you happy. Alice stood up for the things she wanted and she ended up getting all of them, including David.

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Her face THOUGH. 

The Direction

Even though Scorsese was a hired hand on this film, he made it his own. He told Burstyn from the get-go that he didn’t know much about women, but that he was eager to learn. He was only 34 years old when he directed the film, but already he was experienced. He had already made Mean Streets, which is what got him the meeting with Burstyn in the first place and as my dad reminded me, he was an assistant director on Woodstock.

It was Scorsese’s idea to start the film with a semi-fantasy sequence which was shot on the old Colombia Pictures lot. It was weird and interesting and kind of gritty, much like the film itself. As a film buff himself, Scorsese saw the film as a Joan Crawford or Bette Davis vehicle. Without his direction, I believe the film would have been more of just a straight melodrama. He added humor, sensitivity and humanity to the story.

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Scorsese on set with Burstyn and Kristofferson

It’s funny, sad, and brilliant in its simplicity.

At its core, Alice Doesn’t Live Here Anymore is about human beings – all imperfect, all trying to figure out what’s going to make them happy. Beyond the style and music, the film hasn’t aged a day and I think that’s ultimately because it’s about human beings. It’s not a big story, but it hits on an emotional level. Burstyn’s contributions were major – she wanted to make sure this film was told through the eyes of a woman.

The film went on to be adapted to a very successful tv sitcom which ran from 1976-1985. With great performances and a legendary director, Alice Doesn’t Live Here Anymore is well worth the watch. IMHO, it’s a film which doesn’t get praised often enough, probably because Scorsese has gone on to direct so many classics.

My challenge to you: watch the film and try to tell the “Shoot the Dog” story to someone. I don’t know why. That just sounds fun.

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I feel so bad for Alice here…

Vintage trailer below:

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One thought on “#FeministClassics: ‘Alice Doesn’t Live Here Anymore’

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