Added: Lacie Pellegrino - Date: 22.07.2021 20:28 - Views: 29083 - Clicks: 9942
A few months ago, I was invited to a film club. The club was established by three sisters, each of whom asked one of their friends. It turned out to be a women-only affair, although more by accident than de.
So when it came to my turn to host this week, I was keen to choose a film that had a strong female resonance. Ellen Burstyn took the title role and won the Best Actress Oscar for her performance.
Burstyn and Scorsese collaborated closely on the film which came at a key moment in second-wave feminism. The plot is simple enough: after the death of her non-communicative husband, Alice and her young son take to the open road in the hope of making a decent living. Alice gets a job as a nightclub singer and has a brief fling with a man who turns out to be abusive played with expert menace by Harvey Keitel. Forced to flee for her own safety, Alice abandons her singing job and becomes a waitress in a diner in a different town. Here, she finds comfort and solidarity in both her female friendships and her new-found independence.
Eventually, she embarks on a relationship with a divorced local rancher - the film might have overturned lots of conventions, but it was also a product of its time: the girl still ends up with the guy. But what struck me most about the film was the way it portrays motherhood.
It was so real! On-screen, the relationship between Alice and her pre-adolescent son Tommy played by Alfred Lutter is shown in all its different shades: alternately messy, difficult, hilarious, frustrating and loving. It is such an honest and brave representation — and the love that exists between parent and child seems deeper because of the way they are occasionally enraged with each other.
One scene - where Tommy is recounting an endless, nonsensical joke without discernible punchline while Alice is visibly struggling to contain her irritation - struck a chord with every mother in the room. In many ways, the interplay between Alice and Tommy reminded me of the dysfunctional family set-up at the core of Kramer vs.
Kramer, which came along five years later. Perhaps there was something about the Seventies, a time when social norms were being widely challenged, that made it easier to experiment with showing the parent-child dynamic more authentically on-screen.
Mainstream Hollywood films these days are more likely to present an idealised, airbrushed version of parenthood, as though too scared to tackle the grittiness of real family life. It was so refreshing to see a film which had such clear-eyed honesty about the maddening love that exists between mother and. It was compelling to watch and, as a result, deeply moving too. She Said Film. Hollywood's portrayal of family life is too airbrushed, the reality is far more gritty. Depiction of motherhood is more real in s films, says Elizabeth Day.
Elizabeth Day. Fri 28 Mar Topics Film She Said Parents and parenting blogposts.
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Alice Doesn’t Live Here Anymore: When Women Are Caught Hopeless in Their Dreams