Every Generation Has A Story To Tell.
A cinematic adaption of Arlo Guthrie's classic song story.
A cinematic adaption of Arlo Guthrie's classic song story.
Arlo Guthrie Pat Quinn James Broderick Tina Chen Geoff Outlaw Michael McClanathan Pete Seeger Lee Hays Kathleen Dabney William Obanhein Seth Allen Monroe Arnold Joseph Boley Vinnette Carroll Sylvia Davis Simm Landres Eulalie Noble Louis Beachner MacIntyre Dixon Arthur Pierce Middleton Donald Marye Shelley Plimpton M. Emmet Walsh Ron Weyand Eleanor D. Wilson Neil Brooks Cunningham Thomas De Wolfe James Hannon Graham Jarvis Show All…
Devastating portrait of the American Sixities counter-culture faced with responsibilities and realities of personal relationships and the need for social structures to spread the burdens of life and to provide support. The failure of Alice's Restaurant is a bit like the failure of The Beatles' media production company, Apple: a noble idea without the discipline or pragmatism to make it work. Alice has it, but she's flawed by a tendency to express her love physically, which in one instance fatally confuses the emotions of a fragile young man and pisses off her husband, who might espouse free love in public but is disconcerted by it privately when it comes to his wife. The recommital of vows at their second wedding…
Forget Easy Rider: Alice's Restaurant is the quintessential countercultural film of the 1960s. Where the former film emphasized the coolness and freedom of bucking the system, Alice's Restaurant reflects on the intimacy, the artistry, the simplicity and utter unsustainability of the flower power movement. The hero of Alice's restaurant is Arlo Guthrie, a simple-faced folk singer whose sole distinguishable attribute is his commitment to telling the truth. After being tossed out of each town he visits because of his long hair and associations with other long-haired folk, he winds up with a group of like-minded people who establish a small commune in a deconsecrated church building.
Alice's Restaurant doesn't pull its punches towards traditionalists, showing the police as intolerant and…
A '60s joint with no direction, but plenty of music. Light enough to not grind but sad enough to leave a minuscule scratch.
Although lacking a direct message, and definitely 20 minutes too long, Alice’s Restaurant is a really unique slice of life movie. Released soon after Woodstock, I think it was clear to many that the hippie subculture was dying. The party was over, and now everyone had to deal with the hangover. Alice’s Restaurant is interesting for bridging the gap between the hippie ideal and the more cynical, anxious one that would end up taking over in the 70s. It’s a bit scattered and lost at times, but has an incredibly powerful ending.
I caught the second half on TV some 15 years ago and had wanted to revisit it ever since. Y'know, writing an 18 minute folk song about the time you were arrested for littering and how it ended up helping you dodge the Vietnam draft is one thing, but turning the whole yarn into a feature-length film, whew, that's another. The way women throw themselves at Arlo - I'm not gonna say it's unrealistic, but let's go with "suggestive of indulgence". The whole movie is one big ole indulgence (which is ok!), hanging awkwardly between Arlo Guthrie biopic and the story of Ray/Alice's marriage trials. Who are Ray and Alice anyway, and how can they afford to buy a church?…
The first chunk of this was fun until we realized there was still an hour and 20 minutes left. If it had ended with the draft dodging scene, where the song it’s based on ends, it would’ve been a fun, campy 60s counterculture film. But instead it became... whatever this was.
But Arlo was extremely cute and I appreciated all the random cut aways to him smiling...even though he was basically a secondary character for the entire second half of the film..
When it lets Arlo tell the story at a breakneck pace accompanied by it's good folky jams, it's a delight. The rest of it seems uneven to an extent in terms of quality. However it's filmmaking style and technique, in my opinion, was done well enough to where I had to appreciate it. The ending shot panning on Alice that gets obstructed by various trees was one of those things where I got giddy over the directing, even if I had no idea what that visual meant in the context of the story. Also now I can't stop saying "You can get anything you want, at Alice's Restaurant"
В 1970 году, когда Пенн номинировался на "Оскар" за "Ресторан Элис", Академия, можно сказать, простилась с классическим вестерном, наградив "почётным" призом Джона Уэйна и назвав фильмом года "Полуночного ковбоя". Тогда же среди номинантов оказались "Бутч Кэссиди и Санденс Кид" - ревизия старых жанров во времена Нового Голливуда началась с гангстерского кино про бандитов времён Великой Депрессии. Неудивительно, что режиссёр, начинавший тоже с фильмов про реальных людей, живших и вовсе в XIX веке, после "Бонни и Клайда" обратится к жанрам вестерна и нуара. Странно, что между этими картинами в фильмографии Пенна затесалась экранизация песни, снятая по принципу "утром в куплете, вечером на экране" - "Ресторан Элис" вышел через пару лет после выхода одноимённого альбома Арло Гатри. Необычный шаг в сторону, каким…
This shit is so fucking annoying.
Not buying the final shot's attempt to make Alice a figure of tremendous pathos (though the shot itself, formally, is pretty magnificent). Indeed, the whole movie feels pretty slapdash/half-assed, as one might expect from a two-hour adaptation of an 18-minute folk song. Overall tone is strangely sanctimonious, with Guthrie cutting a smugly clownish figure; it's a long haul to the climactic irony of his being rejected for military service due to a littering citation, and almost no sense of gradually building toward that. Just a lot of countercultural dicking around—probably more interesting now than it was at the time, but I'd still much rather have seen a movie adapted from Woody's "Talking Dust Bowl Blues."
L’Action de grâce (en avance!) n’est pas l’Action de grâce sans ce cher Arlo. Quelle joie de revisiter chaque année cette déconfiture du mouvement hippie inspirée du plus célèbre real life crime de dompage de vidanges de l’histoire de la musique folk. Jusqu’à tout récemment, je ne savais pas que l’officier Obie était joué par... le vrai officier Obie. Fou!
Still on a quest to find another Penn that I cherish almost as much as you know what (Night Moves comes close, and I haven’t seen Little Big Man). I know it’s based off his music, but Arlo Guthrie is too weak of an actor to carry a whole movie. It is a time capsule, tho and it’s cool to see the sixties counter-culture in all its glory, hypocrisy, and all that jazz.
I just saw James Broderick in Pelham and I’ve always known him from Dog Day as that Henry Fonda lookalike. So I looked him up. And here he is again. Didn’t know he’s Matthew Broderick’s father.
arlo guthrie if you read this im free on Thursday night and would like to hang out. Please respond to this and then hang out with me on Thursday night when I’m free.
Alice's Restaurant differs from the most popular late 60s counterculture film, Easy Rider, in that Alice predicts the failure of the counterculture/commune movement from within rather than destroyed from the outside. It's amazing that the film remains mostly unknown today.
A história do arlo, da discriminação, do pai e de todo o incidente são legais e prendem, amei a cena do alistamento. Porém todo o resto da representação da contra cultura são bem aleatórios e não entendi MT bem o que quis dizer. Eu acho que não sei
I like the mood and humor of the film.
I don't like the acting.
Here is a film about disillusionment with the 1960s hippie generation even before Altamont.
yes i watched it twice in the same day get off my back
very very good..
i am biased
a very cute boy told me to watch it so ofc i was gonna enjoy it.
but also arlo was very pretty. i love that funky little folky boy.
Arlo is such a sweetheart
I watched this first at 16 and just thought it was really funny. Finally decided to give it another shot now, about 10 years later, fully expecting to be disappointed. I wasn't, but it's still quite different from what I remembered.
Looking back I understand that I didn't understand all the nuances as a teenager, especially one that was born in a whole different era.
I don't think going into this expecting it to be like the song is the way to go. While some scenes really are that funny, I'm now left with some kind of melancholia - most of all because of the contradictions of this specific counter-culture. Seeing the bigotry, the threat of the draft and the…
This immensely entertaining travesty gets so much wrong about a clan of rambunctious hippies raising hell in 1969 Stockbridge, MA, that perversely, it becomes a moving comic elegy to a social movement that rocked this nutty country.
No I’m obsessed
YOU CAN GET ANYTHING YOU WANT, AT ALICE'S RESTAURANT.
Genuinely a really good film, I was pleasantly surprised. However, my one gripe with the film is that the only characters that seem to attain any emotional relationship with the audience are Arlo and Alice. Other than, I really enjoyed this one.
arlo guthrie: now i tell you this was the most barn jumpin corn poppin podunk son of a gun whirligiggin corn cob pipe bull whippin darn corn velvet sweet potato pie finger lickin folk singin in the institutions the solutions the constitutions the
me: yeah man you said it [pushes button that says "popopopopopopopo" when i push it]
button that says "popopopopopopopo" when i push it: popopopopopopopo
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