Alicia ya no vive aquí

Alice Doesn't Live Here Anymore is the film that brought director Martin Scorsese into the commercial limelight; and even though he's had many bigger successes since, this simple and easily accessible story of a woman and her son is well worked and interesting; and personally, I prefer it to a number of his more famous gangster films. The plot is very simple, thus making the film easy to follow and therefore light viewing; and it could also be called a 'chick flick'. However, Scorsese directs with his usual verve and manages to implement a number of memorable characters along the way; some of which are played by the stars of future Scorsese films. The film starts when we are introduced to a young girl named Alice, who has aspirations of being a singer. Several years later, and after the death of her husband, she and her son set off across the country in order for her to pursue her dream career. After her first job and choice of boyfriend go awry, she travels on and ends up meeting a man named David.

This film provides an acting credit for Ellen Burstyn who, just as she would go on to do in the likes of The Exorcist, delivers a well worked and believable performance. Kris Kristofferson is her opposite number, although he doesn't get to flex his acting muscles much - while Taxi Driver co-stars Jodie Fosters and Harvey Keitel deliver memorable portrayals in small roles. The film benefits from a very well written script, which manages to give credence to all of its lead characters, which elevate the film above similar material in its class. The locations are well used, and the director does well in implementing a gritty country style; as well as the central theme of ordinary people trying to make something out of themselves. The main problem with the film is that sometimes it can be a little too light-hearted, and some of the heavier plot ideas aren't allowed to shine through as they should. Overall, this film may be disliked by fans of Scorsese films such as Goodfellas and Casino, and it definitely is a chick flick; but personally, I have no qualms with naming it as one of the better films on Scorsese's list of film credits.

This has to be one of Martin Scorses's most enjoyable films. The film follows Alice (Ellen Burstyn) on a journey back to happier times after a tragedy forces her to make important decisions about her life. Needing a job to raise cash for this journey takes her and her son (the remarkably cheeky Alfred Lutter) on a journey of self discovery. Having a small talent for singing she eventually secures a job as a singer in a bar but flees town after meeting psychopathic Harvey Keitel. Eventually working as a waitress in Mel's Diner she becomes involved with the strangely uncharismatic Kris Kristofferson and realises she has finally met someone who really cares for her. The performances make this a remarkable film, Burstyn & Lutter are a great double act as mother and son, Harvey Keitel frighteningly plausible as a mentally unbalanced suitor and Jodie Foster sexually ambiguous as Lutters playmate. Diane Ladd excels as hard-bitten fellow waitress Flo and Jane Curtin and Billy Green Bush make an impact with barely half a dozen lines between them. Add to this a terrific musical score and inspiring cinematography and you have a timeless classic that is just crying out for a DVD release.

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.

For those of you who thought Martin Scorsese only made gangster movies, here's a real surprise: not only did he make a housewife melodrama somewhere in the seventies, but he made the best one around for miles. Ellen Burstyn is fantastic as middle-aging wife and mother Alice, whose life is torn apart when her neglectful husband is killed in a car accident and she is left with nothing to take care of her fast growing son (Alfred Lutter III). The two find themselves on a road trip across the country to Tucson where she plans to start all over again, but not before various stops along the way keep them from achieving their goal too soon. Diane Ladd is brilliant as Flo, the nasty-mouthed waitress at the diner where Alice gets a job to stay afloat (Polly Holliday made a name for herself playing the role on the hit television show "Alice" that was based on this film). Look for little Laura Dern eating an ice cream cone at the diner counter, and a twelve year-old Jodie Foster as a precocious little thief who hilariously refers to her prostitute mother as "Ramada Rose". Excellent stuff.

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.