IMDb > Alice Doesn't Live Here Anymore (1974)
Alice Doesn't Live Here Anymore
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Alice Doesn't Live Here Anymore (1974) More at IMDbPro »

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Alice Doesn't Live Here Anymore -- A recently widowed woman on the road with her precocious young son, determined to make a new life for herself as a singer.
Alice Doesn't Live Here Anymore -- A recently widowed woman on the road with her precocious young son, determined to make a new life for herself as a singer.

Overview

User Rating:
7.4/10   15,064 votes »
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Popularity: ?
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Director:
Writer:
Robert Getchell (written by)
Contact:
View company contact information for Alice Doesn't Live Here Anymore on IMDbPro.
Release Date:
30 May 1975 (France) See more »
Genre:
Tagline:
A picture for anyone who has ever dreamed of a second chance!
Plot:
A recently widowed woman is on the road with her precocious young son, determined to make a new life for herself as a singer. Full summary » | Full synopsis »
Awards:
Won Oscar. Another 7 wins & 9 nominations See more »
User Reviews:
Dirty Realism at its Best See more (89 total) »

Cast

  (in credits order) (verified as complete)
Mia Bendixsen ... Alice - Age 8

Ellen Burstyn ... Alice Hyatt

Alfred Lutter III ... Tommy (as Alfred Lutter)

Billy Green Bush ... Donald
Lelia Goldoni ... Bea
Ola Moore ... Old Woman

Harry Northup ... Joe & Jim's Bartender
Marty Brinton ... Lenny (as Martin Brinton)
Dean Casper ... Chicken
Murray Moston ... Jacobs

Harvey Keitel ... Ben
Lane Bradbury ... Rita

Diane Ladd ... Flo

Vic Tayback ... Mel

Valerie Curtin ... Vera

Kris Kristofferson ... David

Jodie Foster ... Audrey
rest of cast listed alphabetically:
David Adams ... Diner at Mel & Ruby's (uncredited)
Thelma Allen ... Bartender - Jacob's Bar (uncredited)
Jackie Bridges ... Owner of Country Western Bar (uncredited)
Jefferson Burstyn ... Harold - Neighbor Boy (uncredited)
Tami Conner ... Mother (uncredited)
Steve DeFrance ... Diner at Mel & Ruby's (uncredited)

Laura Dern ... Girl Eating Ice Cream Cone (uncredited)

Jan Eddy ... Store Clerk (uncredited)
Madonna Fercier ... Lady at Yard Sale (uncredited)
Albert J. Gianelloni ... Dusty (uncredited)
Arnold Herzstein ... Man Outside the House (uncredited)
Helen E. Hintz ... Lady at Bathroom Door (uncredited)
Walter J. Johnson ... Diner at Mel & Ruby's (uncredited)
Henry Kendrick ... Music Store Clerk (uncredited)
Frank Kennedy ... Lou - Owner of Piano Bar (uncredited)
Lambert Marks ... Bea's Husband (uncredited)
Duke Robbins ... Man at Mel & Ruby's (uncredited)
Don Starr ... Diner at Mel & Ruby's (uncredited)
Molly Starr ... Diner at Mel & Ruby's (uncredited)
Tiny Wells ... Hurricane Bar Owner (uncredited)
Bob Westmoreland ... Policeman (uncredited)

Directed by
Martin Scorsese 
 
Writing credits
Robert Getchell (written by)

Produced by
Audrey Maas .... producer
David Susskind .... producer
Sandra Weintraub .... associate producer
 
Cinematography by
Kent L. Wakeford (director of photography)
 
Film Editing by
Marcia Lucas 
 
Production Design by
Toby Carr Rafelson 
 
Makeup Department
Lola 'Skip' McNalley .... hair stylist
Bob Westmoreland .... makeup
 
Production Management
John G. Wilson .... unit production manager
 
Second Unit Director or Assistant Director
Michael Kusley .... second assistant director (as Mike Kusley)
Mike Moder .... assistant director
 
Art Department
Edward Aiona .... property master (as Ed Aiona)
John Sexton .... assistant prop master (uncredited)
 
Sound Department
Don Parker .... sound mixer
 
Camera and Electrical Department
Thomas Conley .... key grip (as Tom Conley)
Bill Curtis .... gaffer
Owen Marsh .... camera operator
Reynaldo Villalobos .... first camera assistant (as Ray Villalobos)
William Davis .... second camera assistant (uncredited)
Ed Kennedy .... best boy (uncredited)
Floyd McCarty .... still photographer (uncredited)
Pat O'Mara .... first camera assistant (uncredited)
Donald E. Thorin .... camera operator (uncredited)
Dave Wardlow .... best boy (uncredited)
 
Casting Department
Frank Kennedy .... extras casting (uncredited)
Jim Martell .... outer casting: Warner Bros. (uncredited)
Barbara Miller .... casting: Warner Bros. (uncredited)
Alan Shayne .... casting: Warner Bros. (uncredited)
 
Costume and Wardrobe Department
Lucia De Martino .... wardrobe: women
Lambert Marks .... wardrobe: men's
 
Editorial Department
Carroll Timothy O'Meara .... assistant editor (as C. Timothy O'Meara)
 
Music Department
Richard LaSalle .... composer: additional original music
 
Transportation Department
Gary Paulsen .... transportation captain (uncredited)
 
Other crew
Larry Cohen .... production executive
Lawrence D. Cohen .... production executive (as Lawrence Cohen)
Wayne Fitzgerald .... title by
Julie Pitkanen .... script supervisor
Kathie Green .... voice (uncredited)
Cinnamon Leavitt .... secretary to director (uncredited)
George Memmoli .... voice (uncredited)
William Smith .... location auditor (uncredited)
Vernon White .... publicist (uncredited)
Harry Zubrinsky .... location manager (uncredited)
 
Crew verified as complete


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Additional Details

Also Known As:
Runtime:
112 min
Country:
Language:
Color:
Color (Technicolor)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Certification:
Argentina:13 | Australia:M | Brazil:14 | Canada:PG (video rating) | Finland:K-12 | Netherlands:12 | Singapore:PG | Sweden:15 | UK:AA (cinema rating) | UK:15 (video rating) (1987) | USA:PG | USA:TV-14 (TV rating)

Did You Know?

Trivia:
The scenes in the ranch house owned by David were shot in a real home. The company relocated the couple who lived there for a set time to do the shoot, but delays kept the production there longer. When the couple came home on the agreed date, they sat in the room during the shooting of the final scenes at that location. They grew more and more impatient, demanding to know why Martin Scorsese was calling for retakes and insisting what they had seen was perfectly fine. "Has anybody ever made a movie like this?" Scorsese wondered.See more »
Goofs:
Continuity: When the alarm clock goes off, Alice knocks it to the second shelf (at around 1h 35 mins). Alice goes back to sleep and some short time later, without either her or Tommy having moved in the bed, the alarm clock has returned to the top shelf of the nightstand.See more »
Quotes:
Tommy:Life is short.
Alice:Yeah, well, so are you.
See more »
Movie Connections:
Referenced in The Writers Room (2008)See more »
Soundtrack:
Where or WhenSee more »

FAQ

This FAQ is empty. Add the first question.
11 out of 11 people found the following review useful.
Dirty Realism at its Best, 20 June 2005
Author: eht5y from United States

Martin Scorsese's reputation as the director of some of the best gangster movies of all time often obscures his enormous sensitivity to the nuances of every-day modern life. Despite being his first commercial success, 'Alice Doesn't Live Here Anymore' is probably Scorsese's most overlooked film, which is shameful, because it is arguably his best, and in any analysis, deserves acknowledgment as one of the most honest and, ultimately, uplifting portraits of working-class womanhood written and directed by men.

The scenario is familiar to anyone with a vague awareness of late 1970s American pop culture, as it was adapted into a successful TV sit-com, 'Alice,' starring Linda Lavin in the title role originated by the great Ellen Burstyn: a former lounge singer who traded a dicey future for the stability of blue-collar married life in suburban New Mexico, Alice Hyatt finds herself suddenly widowed, with little to no money, no career possibilities or job experience, and a precocious (and frequently obnoxious) twelve year-old son (Alfred Lutter, who went on to make 'The Bad News Bears' before growing up and disappearing) to provide for. With few other options on hand, Alice determines to restart her singing career back in Monterrey, California, the last place she remembered feeling truly happy and optimistic about the future. She packs her life and her son into the family station wagon and makes her way west, stopping off first in Phoenix (where the sit-com is set) and then in Tucson, trying to save enough cash to get to Monterrey. En route, she suffers defeat, humiliation, and a continuation of her serial attraction to abusive men, until finally she finds herself reduced to a job as a waitress in a roadside café, the now-ubiquitous 'Mel's Diner,' a dive dominated by the profane banter between saucy head waitress Flo (Diane Ladd) and cook/owner Mel (Vic Tayback). Alice finds herself living in an extended-stay fleabag motel, pinching pennies and praying for a bit of luck, which dubiously arrives in the form of David (Kris Kristofferson), a local rancher whom Alice feels herself falling for but is unable to trust, thanks to her history of abuse at the hands of formerly charming men.

Scorsese's innovative, trademark camera work is on ample display here, along with his art-house director's penchant for the unusual (the film opens with an homage to 'The Wizard of Oz,' in which Dorothy is replaced by the young but already brassy and foul-mouthed Alice). But this is a story about humanity, and Scorsese knows enough to step back and let his brilliant lead actress fill up the screen with her honesty and emotional range.

Ellen Burstyn won the 1976 Best Actress Oscar for this film, and it's easy to see why. Scorsese clearly knew what he had on his hands: Burstyn's Alice is both tough and vulnerable, desperate and determined. Burstyn lets the camera linger on her aging face (she was 42 when the film was released), which, strangely enough, is more beautiful and alluring than the polished appearances of most of today's actresses. Alice faces countless hardships, and Burstyn makes them feel as true as any we face in our own lives. She tries to keep up a bright face for Tommy, her quirky, quizzical son, but has moments of naked, gut-wrenching despair as she tries to fathom how she'll ever be able to support herself. Burstyn was herself a singer and a waitress before finding success as a film actress, and her vocal performances are powerfully affecting--pitch-perfect, but shaky enough to reveal her inner vulnerability. She is a brilliant vehicle for this portrait of the life of a hard-luck woman with no one to trust. The film is full of fine, heartbreakingly memorable moments--Alice weeps in bed next to her husband Donald (Billy Green Bush) after another silent, loveless dinner, and the two clutch each other, unable to speak, Alice's disappointment outweighed only by her desperate need; after a long day of rejections, Alice breaks down into tears before a gentle bar manager, who ultimately caves in allows her to audition for him, whereupon she performs a heartbreaking medley of standards for a stunned crowd of average joes in a dingy piano bar; Alice gets a rare moment of joy, drunkenly sitting up from the kitchen table to show David her first dance routine after making love for the first time. These moments feel so real and honest that you almost forget you're watching a movie.

The supporting performances are all easily above par, especially Diane Ladd as Flo, a role made famous for the sanitized 'Kiss my grits' line immortalized by Ladd's TV counterpart, Polly Holliday (interestingly, Ladd briefly succeeded Holliday on the TV 'Alice' in the role of 'Belle' after Flo got her own short-lived spin-off). Alice and Flo initially clash, but eventually form a sisterly bond, revealing that in many ways they are opposite sides of the same coin (curiously, Diane Ladd and Ellen Burstyn were born within a month of each other, Burstyn in Detroit and Ladd in Mississippi). Alfred Lutter's Tommy is perfectly exasperating but also lovable. Kris Kristofferson's David manages to be 'too good to be true' without being unbelievable as the first good man in Alice's life. Harvey Keitel (as a rakish suitor), Jodie Foster (as a spunky ne'er-do-well who befriends Tommy), and, of course, Vic Tayback, are all perfect in their smaller, supporting roles.

'Alice . . .' deserves to be revisited again and again. It's so close to the experience of single mothers in the 1970s that it could be considered a documentary. It's also frequently very funny, capturing the small bits of laughter and silliness in normal life with pitch-perfect accuracy. I doubt that there has ever been another film that has made fictional characters feel so real and true. Alice is a true heroine--a survivor--and sharing her travails and triumphs, you feel the empathy and involvement that only appear in transcendent art.

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