Alice Doesn't Live Here Anymore: Martin Scorsese beyond gangster epics

Author's note: This is third in a series of articles that I call #EssentialScorseseFilms. It is a celebration of the iconic director's cinematic legacy before Killers of the Flower Moon. While Martin Scorsese's prolific career has spanned decades and produced a plethora of remarkable films, I recognise that it is impossible to cover them all within the confines of this series. Therefore, I have chosen to focus on his major works that have, I believe, have come to embody the essence of Scorsese's unparalleled artistry.

Martin Scorsese is a name synonymous with gangster cinema, and rightly so. However, to relegate this legendary filmmaker, easily the greatest living director of our time, solely to the pigeonhole of organised crime dramas is to overlook the expansive depth of his cinematic prowess. One exampleof Scorsese's sheer range is one of his earliest films, the remarkable Alice Doesn't Live Here Anymore, a deeply poignant exploration of female empowerment and resilience.

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In a career marked by iconic mob dramas such as Goodfellas, The Departed, and Casino, Alice Doesn't Live Here Anymore isa vibrant anomaly, underscoring Scorsese's commitment to storytelling that transcends the boundaries of crime narratives. Released in 1974, the film provides a refreshing departure from his typical milieu, a journey into the world of a struggling single mother determined to reclaim her independence.

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The film unfolds the life of Alice Hyatt, played with luminous grace by Ellen Burstyn, a recently widowed woman who embarks on a transformative odyssey to find her own voice and rediscover her long-forgotten dreams. Deserting the violence-laden streets of Scorsese's gangland, we are transported to the sun-drenched landscapes of the American Southwest. Here, Scorsese's lens captures the essence of Alice's pursuit of self-discovery, as she endeavours to shed the roles society has thrust upon her.

The brilliance of Scorsese's direction in Alice Doesn't Live Here Anymore lies in his ability to draw out authentic, multi-dimensional characters. With an unparalleled sensitivity, he paints a vivid portrait of Alice's inner strength and resilience. Scorsese's signature intensity is not lost, but rather redirected towards revealing the depths of human emotion and the complexity of relationships.

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Moreover, the film's supporting cast, including Kris Kristofferson as a love interest and Harvey Keitel as a charismatic suitor, exemplifies Scorsese's knack for extracting powerhouse performances from his actors. Burstyn's portrayal of Alice, in particular, was pretty outstanding. It also earned her a well-deserved Academy Award.

In Alice Doesn't Live Here Anymore, Scorsese also exhibits a masterful command of the visual medium. His artful composition and use of vibrant colours breathe life into the dusty roads and diners that Alice encounters on her journey. The film's evocative soundtrack, a Scorsese trademark, enhances the emotional resonance of the story, and evokes a profound sense of nostalgia and yearning.

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Alice Doesn't Live Here Anymore is ultimately a compelling reminder of Scorsese's versatility and his ability to explore the human condition in all its complexity — mob movie or not. It's a powerful ode to the strength of women, and an anthem of self-discovery.

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