Alice Doesn't Live Here Anymore is a 1974 American romantic comedy drama film[2] directed by Martin Scorsese and written by Robert Getchell.

Kris Kristofferson, Billy "Green" Bush, Diane Ladd, Valerie Curtin, Lelia Goldoni, Vic Tayback, Jodie Foster, Alfred Lutter, and Harvey Keitel appear in supporting roles.

In Socorro, New Mexico, Alice Hyatt's husband, Donald, a Coca-Cola delivery driver, is killed on the job in a traffic accident.

A former singer, Alice sells most of her belongings, intending to take her son, Tommy, to her childhood home of Monterey, California, where she hopes to pursue the singing career she abandoned when she married Donald.

She meets Ben, a younger, seemingly unmarried man who charms her into a sexual relationship that comes to a sudden end when his wife, Rita, confronts Alice.

There, she bonds with her fellow servers—independent, no-nonsense, outspoken Flo and quiet, timid, incompetent Vera—and meets divorced local rancher David.

Director Martin Scorsese cameos as a customer in Mel's diner, and Diane Ladd's daughter, Laura Dern, appears as a little girl eating an ice cream cone.

[4] The soundtrack includes "All the Way from Memphis" by Mott the Hoople; "Roll Away the Stone" by Leon Russell; "Daniel" by Elton John; "Jeepster" by T-Rex; and "I Will Always Love You" by Dolly Parton.

During her lounge act, Alice sings "Where or When" by Richard Rodgers and Lorenz Hart; "When Your Lover Has Gone" by Einar Aaron Swan; "Gone with the Wind" by Allie Wrubel and Herb Magidson; and "I've Got a Crush on You" by George and Ira Gershwin.

[11] Vincent Canby of The New York Times called the film a "fine, moving, frequently hilarious tale", and wrote that "the center of the movie and giving it a visible sensibility is Miss Burstyn, one of the few actresses at work today ... who is able to seem appealing, tough, intelligent, funny, and bereft, all at approximately the same moment ... Two other performances must be noted, those of Diane Ladd and Valerie Curtin ... Their marvelous contributions in small roles are a measure of the film's quality and of Mr. Scorsese's fully realized talents as one of the best of the new American filmmakers.

[14] Judith Crist praised Burstyn for "making us care about her in all her incredibilities, stripping the character to its essential warmth as a woman, concerns as a mother, dependencies as a wife, and yearnings as an individual."

"[15] Pauline Kael of The New Yorker wrote, "Alice is thoroughly enjoyable: funny, absorbing, intelligent even when you don't believe in what's going on—when the issues it raises get all fouled up.

"[19] Charles Champlin of the Los Angeles Times called Burstyn's performance "highly charged and sympathetic", and Ladd "wonderful".

"[20] Similarly, Molly Haskell of The Village Voice felt the film was inconsistent in its attempt to "make a 'woman's picture' that will satisfy contemporary audiences' hunger for a heroine of some stature and significance, while at the same time allowing Scorsese to pay ironic tribute to the tear-jerkers and spunky showbiz sagas of the past and such demigoddesses as Alice Faye and Betty Grable."

Overall, she felt, "the fault is largely that too many cooks have been allowed to contribute their ingredients (they're called 'life moments' and the result is inorganic soup), without a guiding intelligence.

The website's consensus states: "Alice Doesn't Live Here Anymore finds Martin Scorsese wielding a somewhat gentler palette than usual, with generally absorbing results.