1974 жылғы Мартин Скорсезе фильмі туралы әңгімелер

1974 film directed by Martin Scorsese
the film

Burstyn described her collaboration with Scorsese, making his first Hollywood studio production, as "one of the best experiences I've ever had". He agreed with her that the film should have a message. "It's a picture about emotions and feelings and relationships and people in chaos," he said. "We felt like charting all that and showing the differences and showing people making terrible mistakes ruining their lives and then realizing it and trying to push back when everything is crumbling – without getting into soap opera. We opened ourselves up to a lot of experimentation." who turned it down. In a 2005 interview, she said she regretted that decision. Scorsese's casting director auditioned 300 boys for the role of Tommy before they discovered Alfred Lutter. "I met the kid in my hotel room and he was kind of quiet and shy," Scorsese said. But when he paired him with Burstyn and suggested she deviate from the script, he held his own. "Usually, when we were improvising with the kids, they would either freeze and look down or go right back to the script. But this kid, you couldn't shut him up." In a film clip from Coney Island, Betty Grable is heard singing "Cuddle Up a Little Closer, Lovey Mine" by Otto A. Harbach and Karl Hoschna; and in a film clip from Hello Frisco, Hello, Alice Faye performs "You'll Never Know" by Harry Warren and Mack Gordon.

Vincent Canby of The New York Times called the film a "fine, moving, frequently hilarious tale", and wrote that "the center of the movie and giving it a visible sensibility is Miss Burstyn, one of the few actresses at work today  who is able to seem appealing, tough, intelligent, funny, and bereft, all at approximately the same moment  Two other performances must be noted, those of Diane Ladd and Valerie Curtin  Their marvelous contributions in small roles are a measure of the film's quality and of Mr. Scorsese's fully realized talents as one of the best of the new American film makers." Roger Ebert of the Chicago Sun Times called the film "one of the most perceptive, funny, occasionally painful portraits of an American woman I've seen." He wrote: "The movie has been both attacked and defended on feminist grounds, but I think it belongs somewhere outside ideology, maybe in the area of contemporary myth and romance." Ebert placed the film third of his list of the best films of 1975 (even though it was released in December 1974). Judith Crist praised Burstyn for "making us care about her in all her incredibilities, stripping the character to its essential warmth as a woman, concerns as a mother, dependencies as a wife, and yearnings as an individual." But she criticized Scorsese's direction, writing that he was "putting on a camera show of his own, the handheld pursuit of the image lending an exhausting freneticism to what is melodrama enough on its own." Pauline Kael of The New Yorker wrote, "Alice is thoroughly enjoyable: funny, absorbing, intelligent even when you don't believe in what's going on—when the issues it raises get all fouled up." TV Guide rated the film three out of four stars, calling it "effective but uneven" with performances that "cannot conceal the storyline's shortcomings." Arthur D. Murphy of Variety called the film "a distended bore", adding that it "takes a group of well cast film players and largely wastes them on a smaller than life film—one of those 'little people' dramas that makes one despise little people." Gene Siskel of the Chicago Tribune gave the film two stars out of four, writing, "[t]he characters aren't real, the situations in which they are placed aren't real, and, as a result, one cares little how the alleged relationships develop." Charles Champlin of the Los Angeles Times called Burstyn's performance "highly charged and sympathetic", and Ladd "wonderful". But he felt the film was "seemingly uncertain whether to be a stylized and updating revision of the romantic comedy modes of the late '30s or a rough and tumble piece of social realism flavored with bitter comedy." Similarly, Molly Haskell of The Village Voice felt the film was inconsistent in its attempt to "make a 'woman's picture' that will satisfy contemporary audiences' hunger for a heroine of some stature and significance, while at the same time allowing Scorsese to pay ironic tribute to the tear jerkers and spunky showbiz sagas of the past and such demigoddesses as Alice Faye and Betty Grable." Overall, she felt, "the fault is largely that too many cooks have been allowed to contribute their ingredients (they're called 'life moments' and the result is inorganic soup), without a guiding intelligence." On Rotten Tomatoes, the film has an approval rating of 92%, based on 83 reviews, with an average rating of 7.5/10. The website's consensus states: "Alice Doesn't Live Here Anymore finds Martin Scorsese wielding a somewhat gentler palette than usual, with generally absorbing results." On Metacritic, the film has a weighted average score of 78 out of 100, based on 11 critics, indicating "generally favorable reviews".

The film inspired the sitcom Alice, which was broadcast on CBS from 1976 to 1985. The only member of the film cast to reprise his role was Vic Tayback as Mel (though his diner was moved to Phoenix). Lutter portrayed Tommy in the pilot episode but was replaced by Philip McKeon for the series. Ladd joined the show later in its run, but in a different role than she played in the film. Linda Lavin took the role of Alice in the series after Burstyn said she wouldn't do television. The character of Flo was later spun off into yet another series, Flo.

Warner Home Video released the film on Region 1 DVD on August 17, 2004. It is in anamorphic widescreen with audio tracks in English and French and subtitles in English, French, and Spanish. Bonus features include commentary by Scorsese, Burstyn, and Kristofferson, and Second Chances, a background look at the making of the film.

In 2019, BearManor published Media Alice: Life Behind the Counter in Mel's Greasy Spoon (A Guide to the Feature Film, the TV Series, and More), a book chronicling the development of the film and its spin off television series.