Alice Doesn’t Live Here Anymore is an outlier for Martin Scorsese, but was an undeniable success in part because of its team of women.
Alice Doesn’t Live Here Anymore is an outlier for Scorsese, an undeniable success in part due to its team of women.
The ‘70s was an incredible time for rising visionary filmmakers breaking free from the now-decimated studio system of old, but those freedoms were restricted almost entirely to white male directors. Aside from outliers like Elaine May or independent figures like Joan Micklin Silver and Barbara Loden, directing was still seen as a man’s job. Male viewpoints were deemed universal in a way never afforded to women .
Also on board as a trusted confidante was Toby Carr Rafelson, a production designer and the first wife of Bob Rafelson, director of. She had worked as a set designer and production head on her husband’s early films, which were considered a crucial foundation of New Hollywood. The Rafelsons were childhood sweethearts and even after they divorced, Bob credited her as one of his greatest collaborators,Ellen Burstyn was, of course, the lynchpin of the team.
Mel’s is the platonic ideal of a ’70s diner, all cream countertops and home-baked pies concealed behind glass cloches. It’s ragtag but familiar, brightened by a color palette that echoes the Arizona desert and contrasts with Alice and her fellow waitresses’ baby pink uniforms. Alice starkly contrasts with her customer base of gruff men in denim and cowboy hats, among the wolves but never a sheep.
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