Alice Doesn’t Live Here Anymore

Tags

1970's, Alfred Lutter, Alice Doesn't Live Here Anymore, Diane Ladd, Drama, Ellen Burstyn, Harvey Keitel, Jodie Foster, Kris Kristofferson, Martin Scorsese

Film Title

Alice Doesn’t Live Here Anymore

Director

Martin Scorsese

Starring

• Ellen Burstyn as Alice Hyatt
• Alfred Lutter as Tommy Hyatt
• Kris Kristofferson as David
• Diane Ladd as Flo
• Harvey Keitel as Ben
• Jodie Foster as Audrey

A change of pace for Martin Scorsese, Alice Doesn’t Live Here Anymore provides great evidence of his directorial skill and versatility. Focusing on the odyssey of a woman attempting to discover herself and hoping to fulfill long forgotten dreams, it’s a moving, at times funny and heartfelt film, beautifully lead by an Oscar-winning Ellen Burstyn.

Alice Hyatt is a downtrodden housewife, living in Socorro, New Mexico, with her inattentive husband Donald and precocious 12-year-old son Tommy. She once had some success as a singer, but after marrying gave it up for her husband. Desperately unhappy with a man who she is always trying to please, Alice is starting to come apart. Then Donald is killed in a car accident and Alice is left with barely anything. Packing up Tommy with what little she has, she starts out on a journey back to her childhood home. Alice hopes she can rekindle her old singing job again, especially as it will probably be her only source of income. Because of a money shortage, the two have to stop off every now and then. The first stop is in Phoenix, Arizona, where Alice finds some work as a lounge act. While singing is her passion, her wages are menial and it is becoming a struggle to keep Tommy in line. Add to this volatile Ben, who quickly becomes violent towards her and Alice must leave and attempt to get by once more. Fleeing from Phoenix, Alice, along with spoiled Tommy, stop in Tuscon. It is here that Alice gets a job as a waitress, something she hates at first. But as she manages to get through her days and becomes friends with loud, sassy Flo, life looks like it could be going up. She also meets rancher David, who is a kind but firm man taking an interest in her. Alice, obviously considering her history with men, is apprehensive about pursuing any kind of relationship. Eventually, she lets some of the walls down and opens up to the idea of romance. Yet will Alice’s blooming attraction to make her reconsider her pursuit of her dreams?

While a very different sort of movie than one would expect from Martin Scorsese, his style and command over the camera ensure Alice Doesn’t Live Here Anymore is a fine movie. Scorsese really gets the tone of the movie right; with melancholy moments being followed by laughter, much in the way that life can get and best exemplified by the almost always moving camerawork. Some of the film’s passages get uneven, but Scorsese allows the acting and story to play out with a naturalness and warmth that can’t be mistaken. The feminist streak throughout the story was well attuned to the 70’s, yet still bears semblance today as it examines the growing independence and struggles of a woman trying to cope on her own. The character of Alice is wonderfully written and her situation is a universal one that strikes a chord with any viewer. The relatable nature comes through in the first frames of a dream-like memory that resembles an old musical; which is bluntly counteracted by the reveal of Alice’s miserable home life years later. That scene really plays into much of what unfolds, as Alice journeys to discover herself and what she should do, even if its elusive at first. Now as I mentioned earlier, the pacing of the film can sometimes get a little off. I did find that some areas could have been expanded on and a few moments get superfluous, but these quibbles don’t distract from a moving story, undercut by both a bittersweetness and hopefulness. The film really picks up once Alice begins working as a waitress; the gentle humour and drama are wonderfully brought to life through the supporting characters and situations. The almost improvisational approach to the dialogue is another high point, letting everyone have a good rapport with both each other and the audience. A wide collection of songs are featured on the soundtrack, which fit in pretty splendidly with the constant ups and downs of Alice’s life.

Ellen Burstyn is the biggest shining light of the film, winning a much deserved Oscar for her sensitive work as the title character. Blessed with a genuinely sympathetic and expressive face, Burstyn covers the whole gamut of her character’s journey. From despair and uncertainty to growing in confidence, Burstyn’s work is authentic and beautifully done. You feel warmth when she smiles and want to cradle her when the hardships get too much. The biggest compliment I can give her is that she truly makes the part of Alice seem like a real human being, and I think that’s a testament to her talents as an actress. Alfred Lutter is appropriately questioning and pestering as the spoiled Tommy, who drives his mother up the wall. While it is easy to say he’s annoying, the part calls for that the mother and son don’t share the smoothest dynamic with one another, but there is a genuine love that is always present even when they are at loggerheads. Props to both for really forging a believable bond that runs throughout the movie. In what could have been just a role that took advantage of his handsomeness, Kris Kristofferson brings a lot more verve and soul to his part of rancher, smitten by the eponymous Alice. Stealing any scene in which she appears in is Diane Ladd, bringing forth a big personality and brassy mouth to the proceedings. Ladd is fabulous as the tough-talking waitress at first distant from and later close to Alice. The scenes between Ladd and Burstyn are a real delight too. A brief but memorable appearance by Harvey Keitel as a possessive and violent man who becomes involved with Alice, makes the drama really hit hard in his segment. A young Jodie Foster has the spirited attitude and rebelliousness as the girl who befriends Tommy and while it is a pretty small role, its noticeable.

Directed by Martin Scorsese and illuminated by Ellen Burstyn, Alice Doesn’t Live Here Anymore may not be his finest film, but it’s a dramatic triumph of care and heart that retains an impact through its story and mix of drama and comedy.

The Little Girl Who Lives Down the Lane

Tags

1970's, Alexis Smith, Jodie Foster, Martin Sheen, Mort Shuman, Mystery, Nicolas Gessner, Scott Jacoby, The Little Girl Who Lives Down the Lane, Thriller

Film Title

The Little Girl Who Lives Down the Lane

Director

Nicolas Gessner

Starring

• Jodie Foster as Rynn Jacobs
• Martin Sheen as Frank Hallet
• Scott Jacoby as Mario
• Alexis Smith as Mrs. Hallet
• Mort Shuman as Officer Miglioriti

An unusual thriller/mystery, The Little Girl Who Lives Down the Lane benefits from building direction that slowly reveals darkness and a mature performance from a young Jodie Foster.

In the seaside town of Wells Harbor, Maine, a young girl named Rynn Jacobs celebrates her thirteenth birthday alone in her father’s large house. Rynn is an independent and extremely mature girl who is self-reliant( she regularly collects money from a safe deposit box and learns from home) and is regularly seen without any parental figure. No one knows where her father is and Rynn when asked tells them that he is either away or busy with his poetry writing. These suspicious action surrounding Rynn, who appears to enjoy being by herself and providing for herself, arouse the interest of many people. Chief among these is Frank Hallet, the adult son of the landlady, who is a predatory man with a sick fascination for young girls. He pesters young Rynn who drives him away with her excuses. Soon enough the bossy and snotty Mrs. Hallet comes knocking and is desperate to know where the girl’s father is. Wanting to be alone and angry at those who intrude, Rynn tries to get rid of the woman who won’t leave. Mrs. Hallet wants to collect something she left in the cellar and despite the warnings of Rynn enters it, only to find something shocking and accidentally knocks the wedge that keeps the door open and fatally injures herself. Rynn just goes about her business, but soon realises that she must get rid of evidence that could put her in trouble with the authorities. Luckily, she encounters teenager Mario, an amateur magician who takes a liking to the mysterious girl. Helping her dispose of evidence and the body, Mario is puzzled but entranced by Rynn, and she despite always being alone, likes his company. Yet Rynn is guarding a much bigger secret than anyone imagined and as the neighbours become more curious about her( in particular the creepy Frank and inquisitive officer Miglioriti), we see just what she is willing to do to retain her solidarity and the depths of her capabilities.

On the directing front, Nicolas Gessner balances both intrigue and mystery in an unfussy yet beneficial way that draws you into the strange little story at play. He adeptly and astutely doesn’t play to mystery clichés too much and successfully throws in moments of unexpectedness that you don’t see coming. Gessner knows when to reveal just enough to keep us dangling, before keeping us at a distance to further the enigma surrounding Rynn and her secret. As much as The Little Girl Who Lives Down the Lane is a mystery, it’s also something of an unusual coming of age. Rynn is a girl who thinks and acts like she’s a lot older, yet is not there yet and still doesn’t understand certain things that a grown up would. This in turn adds to the dichotomy of the character as she is oddly innocent during various parts, and then complicated and perhaps not there emotionally in others. There are a few stretches that may have benefited from a bit of trimming, but all in all, The Little Girl Who Live Down the Lane has good pacing that keeps us invested and startled by what we discover. The often bouncy score purposely acts in opposition to the creepy nature of the film to marvellous effect. And when the sparse score isn’t present(which is for quite a few important parts) the film gains an upper hand on the viewer as without the music, we are made to be more curious about what unravels and in particular what Rynn is really up to.

Making a huge impression and one of the film’s best assets is a young Jodie Foster as the self-reliant Rynn, who is much more than what she seems. With her angelic face and mature demeanor, Foster strikes the perfect balance in the role: Rynn appears so innocent yet mysterious and we never quite know what to make of her as she continues to assert that her father is away in order to keep her independent living. Foster never lets us forget that the character is still a child, despite her grown up actions and that somewhere in her mind she isn’t emotionally mature for adulthood. The sense of ambiguity in her work lends itself well to the performance and Jodie Foster even at a young age, shows the depths of her talents with a complex, strangely sympathetic and strikingly mature portrayal of a girl who isn’t as wholesome as her looks would have you believe. In the part of the sexual predator who takes an interest in Rynn, Martin Sheen makes your skin crawl with his performance that really knows how to unnerve you with a twisted grin here or a sleazy glance there. It shows off his talent as an actor and how damn effective he can be. Scott Jacoby makes for an amiable companion for Rynn who she starts to trust, even though he doesn’t quite know what to make of the girl and her actions. In the small but memorable part of the ill-fated Mrs. Hallet, Alexis Smith is cutting and opinionated before her eventual demise due to her nosiness. Mort Shuman is probably the only other person in the film that really has a caring side as he watches out for Rynn yet can’t shake the feeling that something is very wrong.

A mystery that takes quite a few different paths and knows when to wrong foot the audience, The Little Girl Who Lives Down the Lane is strange yet intriguing film making that fills the screen with tension and confined space, while showcasing the exceptional talent of Jodie Foster.

 

Carnage

Tags

2010's, Carnage, Christoph Waltz, Comedy, Drama, Jodie Foster, John C. Reilly, Kate Winslet, Roman Polanski

Film Title

Carnage

Director

Roman Polanski

Starring

• Jodie Foster as Penelope Longstreet
• Kate Winslet as Nancy Cowen
• Christoph Waltz as Alan Cowen
• John C. Reilly as Michael Longstreet

Based on the acclaimed play, Carnage is a darkly funny examination of a meeting between two middle class couples to smooth over a skirmish between their sons that turns into something quite different. As directed under Roman Polanski’s acute eye for body language and the power of words, Carnage is sharp, funny and dramatic viewing.

Penelope and Michael Longstreet invite Nancy and Alan Cowen over to their high-rise New York condo to discuss an altercation between their children. The Cowen’s son struck the Longstreet’s boy with a stick after an altercation, which resulted in a couple of broken teeth and a swollen face. Initially the meeting between the couples is cordial, but it soon begins to take on another form. As the couples begin to take sides on the issue of their kids, verbal assaults are thrown about and the mask of civility melts away into an extended slanging match on the differing viewpoints of class, ideals and morals emerges from this supposedly diplomatic situation. In the end, the meeting is nothing to do with the two boys, but the regression of their parents into anarchy at being in such a claustrophobic setting. Prepare for acerbic one liners, verbal jousting and fine performances from the four members of the cast in Polanski’s comedic chamber drama of niceties being dispensed with and the true self burrowing its way to the top in an argument.

The first thing to notice in Polanski’s movie is the limited but highly effective setting of the Longstreet’s condo. Polanski examines the humorous side to these middle class character’s insular surrounding with a certain amount of tension, which he is more than adept because of his work in Repulsion and Rosemary’s Baby. The condo seems to take on a life of its own and becomes almost prison like as we watch the Cowen’s attempt to leave but being halted at every opportunity. Polanski who also co-wrote the screenplay succeeds in bringing the acerbic wit to the screen with comedic and equally dramatic moments popularising this supposedly civil meeting between mature adults that descends into shouting and screaming. Roman Polanski manages to direct at a steady pace as the mask of diplomacy begins to slip and it really is amazing how he keeps us interested with such a short running time.

The biggest asset belonging to Carnage is the four main actors involved who all put in excellent work. Jodie Foster flat-out nails the role of Penelope Longstreet, a prissy woman obsessed with manners whilst being something of a snob. Her highly strung tendencies as a character really add to the comedic side of the film. Kate Winslet lets loose with her role as Nancy, the demure trophy wife whose escalating frustrations combined with too much booze lead her to extreme situations. Christoph Waltz gets some of the best lines as the ruthlessly suave and chauvinistic Alan, a lawyer constantly attached to his phone more than his wife’s pleas to leave. It is Alan who is the only character to see the absurdity of the meeting and the fact that no resolution will come of it. John C. Reilly adds humour but an underlying rage as Michael, who at first tries to calm the situation but later becomes a key instigator in stoking the flames of the already heated situations.

Making effective use of the limited setting, waspish dialogue and four great performances, Polanski’s Carnage in short is a barbed, dramatic and darkly funny account of civilised people descending into chaos.