ALICE'S RESTAURANT (1969)

Title: ALICE'S RESTAURANT

Year of Release: 1969

Director: Arthur Penn

Genre: Comedy, Drama

Synopsis: The story of musician Arlo Guthrie, who among his activities tries to avoid the draft for Vietnam, sings, roams the countryside, and falls in with the crowd of Alice's restaurant in Massachusetts. 

Within a film history context: During the late 1960s and early 1970s, there were numerous films which were concerned with anti-establishment counterculture characters and scenarios. One of the first was Roger Corman's THE TRIP (1967). After suffering a traumatic divorce from his wife, a television director falls into drugs, and has many way out experiences. Notable for its cast, including Peter Fonda, Dennis Hopper, and Bruce Dern, it was an interesting foray into counterculture themes. THE NUDE RESTAURANT (1967), directed by Andy Warhol, was the confrontational story of a restaurant, its waiters, waitresses and patrons, discussing a little of everything in this underground movie. More entertaining was Eliot Silverstein's THE HAPPENING (1967). Four young people kidnap a wealthy man, and hold him to ransom, but events conspire against their original plans. As with many counterculture movies it had a splendid cast, in this case Anthony Quinn in the lead role, with support from George Maharis, Michael Parks, and Faye Dunaway in an early part. Different in tone was GREETINGS (1968), directed by Brian de Palma. It was an unconventional tale of three men getting up to many adventures in late 1960s New York City, with references to issues fresh at the time such as Vietnam, how to avoid the draft, and computer dating. It led to a sequel in 1970 being HI, MOM!, which was equally irreverent, both films starring Robert De Niro. Also raucous was Barry Shear's WILD IN THE STREETS (1968). A young rock singer becomes president of the United States, which leads to much mayhem, but many colorful, original set pieces. 

SKIDOO (1968), directed by Otto Preminger, was a comedy about the life of a former hit man, and the many outrageous situations in which he, and his family, participate. Alternately dealing with topics such as the counterculture, hippies, free love, and LSD, it was a departure for its director, but not a financial success in its original release. Bob Rafelson's HEAD (1968), was akin in some respects, but in a much more innocent vein. The film charted the exploits of pop group The Monkees, with many musical interludes, and adventures thrown in. On the other hand, PSYCH-OUT (1968), directed by Richard Rush, concerned a young deaf woman looking for her brother in San Francisco, and how through this odyssey she encounters wild characters, with the effects of drugs deftly portrayed in the narrative. Outlandish could be said to describe Hy Averback's I LOVE YOU, ALICE B. TOKLAS (1968). Through a series of events, a straitlaced attorney meets a flower power young woman, and becomes part of the hippie lifestyle, this experience changing his views on love, and life. ALICE'S RESTAURANT had that quirky sensibility which infused many of the above films, but added its own touches to the counterculture movies.

As with most of the films in this category, ALICE'S RESTAURANT had a central male protagonist, expressing his views on life, and tubthumping authority whenever possible. THE TRIP, GREETINGS, WILD IN THE STREETS, and I LOVE YOU, ALICE B. TOKLAS are prime examples of this. These are story worlds where anything can happen, with sometimes outrageous incidents highlighted. This was marked more in the latter three movies, which are all comedic in intention. Where ALICE'S RESTAURANT diverted was that Arlo was a folk singer, whereas in the other movies, their occupations were different. The closest film to ALICE'S RESTAURANT in terms of this was WILD IN THE STREETS, with its rock star becoming president, but that film was geared towards satire, and overt comedy. ALICE'S RESTAURANT, by no means a drama, had comic interludes, but did not send up its characters mercilessly, as exemplified by WILD IN THE STREETS. 

There was a quietness, and a subtlety in ALICE'S RESTAURANT, with the lead going through the mill of draft dodging, and hot and heavy relationships with various women. This was contrasted with the single-mindedness of Max in WILD IN THE STREETS, and how he did anything to progress, even if other people were hurt. A free love mentality, though, was present in both WILD IN THE STREETS and ALICE'S RESTAURANT. It was all about the journey for the free-floating Arlo, rather than the rampant sexuality of the egomaniacal Max Frost. This gave ALICE'S RESTAURANT a thoughtful background which was in keeping with the time of its release. Another interpretation of a counterculture character, ALICE'S RESTAURANT is a beguiling account in this respect.

Overview: Arthur Penn was an American film director from 1958 until 1995, helming thirteen motion pictures. His works were predominately dramas, with action, biopics, crime, and thrillers among his output. Mr Penn's first movie, THE LEFT HANDED GUN (1958), followed Billy the Kid as he avenged the killing of his friend by murdering those involved in this crime, but his actions will affect the lives of his close associates. Next came one of Arthur Penn's most notable movies, THE MIRACLE WORKER (1961). The relationship of blind and deaf Helen Keller with her companion, Anne Sullivan, was brought to the screen in a full-blooded biopic, winning Oscars for both Patty Duke as the young Helen, and Anne Bancroft as Anne. Crime drama MICKEY ONE (1965), was about a stand-up comic who finds himself at odds with the Mob, appropriating the identity of another man, and continuing his comic act. In the compelling melodrama THE CHASE (1966), a young man returns to his Texas hometown after escaping from jail, and the effect of his presence is keenly felt on the townspeople. One of Arthur Penn's most celebrated movies came in the form of BONNIE AND CLYDE (1967). Charting the criminal escapades of Bonnie Parker and Clyde Barrow in the 1930s, with its all-out presentation of violence, and courage of its convictions, this biopic made a definite statement at the box office, where it was one of the year's most successful films. The 1970s brought Arthur Penn further interesting pictures.

LITTLE BIG MAN (1970), told the tale of a supercentenarian man who reminisces about his life from childhood, when he was taken in and raised by American Indians, dealings with General Custer, and other events in this western. Crime again made its mark in NIGHT MOVES (1975). When a private investigator is assigned by an actress to find her missing daughter, he uncovers a lot more than first expected in this modern noir drama. One of Arthur Penn's least successful outings was THE MISSOURI BREAKS (1976). A horse thief comes up against a determined rancher, who, with the assistance of another man, seeks to halt the stealing of horses in a very permanent way. Critically derided, with a low box office take in its era, time, though, has been somewhat kinder to this western. Into the 1980s, the underrated FOUR FRIENDS (1981), surveyed the lives of several characters from the tumultuous 1960s until the early 1980s. Despite good notices from critics, it lost money for its studio. TARGET (1985), mined thriller territory, this time, a woman holidaying in Europe parts with her tour group, this arousing the suspicion of her husband and son, who seek to find her. DEAD OF WINTER (1987), was a venture into horror for Mr Penn. An actress tries to help the financial situation of herself and husband by taking on an acting role, but this is just the start of her problems. Athur Penn's last movie was PENN & TENNER GET KILLED (1989). The exploits of a comic duo made up the content of this black comedy, but it was not a fitting final tribute to the director. ALICE'S RESTAURANT was Arthur Penn's seventh film, but not one of his best efforts.

In the case of ALICE'S RESTAURANT, Arthur Penn has made a passable movie with some edifying passages. Taking as its focus a folk singer who tries to avoid being drafted for Vietnam, and his eventual move to friends in Massachusetts, who live in a deconsecrated church, it is an interesting, if flawed picture. Admittedly, there is a certain charm to the proceedings, and the way in which events occur in a random order, but the storytelling, and style of presentation, has not stood the test of time. It may have been relevant at the time of its release for its notions of the counterculture, and beliefs about the Vietnam War, but in retrospect, has not dated well. The to and fro of the narrative does become grating when watching the movie, as one wants something more concrete in terms of an emotional experience, but it rarely happens. Aside from this, the majority of the action actually takes place away from Alice's restaurant, thus skewing the effectiveness of the title. While the title was utilized to capitalize upon the song of the same name, that is the extent of its function. This is not the be all and end all of matters, but does misinform viewers as to the setting of the film. A picture which tries to be irreverent and current but is now mainly of historical interest, ALICE'S RESTAURANT is a chaotic movie from Arthur Penn.

Acting: There are four acting performances which are striking in ALICE'S RESTAURANT. In the lead role, musician Arlo Guthrie has a natural, relaxed presence which works well with the unconventional feel of the movie. As the eponymous Alice, Patricia Quinn adds realism, spunk, and fire to the picture, making her a flesh and blood figure to whom the audience can relate. In contrast, Alice's intriguing husband, Ray, is a dashing turn by James Broderick. With his appealing swagger but also, quiet moments, Mr Broderick is a distinctive personality who adds depth to the proceedings. The last acting of note was by Michael McClanathan as Shelly, Arlo's sensitive friend. In many instances, Mr McClanathan does not have to say a single word for the viewer to comprehend his feelings, and this makes him another unique persona among the others in ALICE'S RESTAURANT.

Soundtrack: ALICE'S RESTAURANT has a pleasing soundtrack, mainly consisting of songs performed diegetically by Arlo Guthrie, but also, with non-diegetic music sprinkled throughout the movie. It is interesting how the opening credits eschew music, instead offering a sound byte of the draft sequence. The closing credits are entirely converse, with an introspective tune played which continues nicely from the end scene of Alice staring into the yonder. This leaves the movie on a solemn but bittersweet note, and is one of the best moments of ALICE'S RESTAURANT.

Mise-en-scene: ALICE'S RESTAURANT has much going for it in terms of offering viewers a convincing visual experience. Michael Nebbia's cinematography is subtle, not emphasizing colour to a great degree, but with an unforced flair which is symptomatic of the picture as a whole. There are quite a few outdoor sequences in the movie, and these all add to the sense of realism which ALICE'S RESTAURANT stives for in its presentation. Production design by Warren Clymer, and John Mortensen's set decoration, create a fantastical world which the characters inhabit, with Alice's restaurant itself being warm and inviting, and the deconsecrated church two key examples of their expertise. 

Notable Acting Performances: Arlo Guthrie, Patricia Quinn, James Broderick, Michael McClanathan.

Suitability for young viewers: No. Male nudity, female nudity, adult themes, drug use.

Overall Grade: C

Link: IMDB Page

Trailer