1975 Israel MOVIE POSTER Film ALICE DOESN'T LIVE HERE ANY MORE Scorsese HEBREW

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Seller: judaica-bookstore ✉️ (2,805) 100%, Location: TEL AVIV, IL, Ships to: WORLDWIDE, Item: 276286033364 1975 Israel MOVIE POSTER Film ALICE DOESN'T LIVE HERE ANY MORE Scorsese HEBREW. DESCRIPTIONHere for sale is an EXCEPTIONALY RARE and ORIGINAL over 40 years old Hebrew-Israeli SMALL POSTER for the 197 5  ISRAEL premiere of the legendary classic COMEDY DRAMA academy awards winner and nominee MARTIN SCORSESE film - movie " ALICE DOESN'T LIVE HERE ANY MORE " . Starring  among others ELLEN BURSTYN and KRIS KRISTOFFERSON  . The Hebrew poster was created ESPECIALLY for the Israeli 1975 premiere of the film . Please note : This is Made in Israel authentic THEATRE POSTER , Which was published by the Israeli distributors of "CINEMA LILY" in RAMAT GAN - GIVATAIM ISRAEL for the Israeli premiere projection of the film in 1975  . A nice bonus to the buyer , An Italian comedy "WATCH OUT, WE'RE MAD !" with BUD SPENCER and TERENCE HILL in MATINEE show.  you can be certain that this surviving copy is ONE OF ITS KIND. Size around 7" x 12" . The poster is in very good condition. Used. One fold.   Will definitely disapear under a framed glass.  ( Pls look at scan for accurate AS IS   images ). Poster will be sent in a special protective rigid sealed package.

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SHIPPING : Shipp worldwide via registered airmail is $19  . Poster will be sent in a special protective rigid sealed package. Handling around 5-10 days after payment. 

Alice Doesn't Live Here Anymore is a 1974 American comedy drama film directed by Martin Scorsese and written by Robert Getchell.[2] It stars Ellen Burstyn as a widow who travels with her preteen son across the Southwestern United States in search of a better life, along with Alfred Lutter as her son and Kris Kristofferson as a man they meet along the way.[2] This is Martin Scorsese's fourth film. The film co-stars Billy "Green" Bush, Diane Ladd, Valerie Curtin, Lelia Goldoni, Lane Bradbury, Vic Tayback, Jodie Foster (in one of her earliest film appearances), andHarvey Keitel.[2] Ellen Burstyn won the Academy Award for Best Actress and the BAFTA Award for Best Actress in a Leading Role for her performance, and the film won the BAFTA Award for Best Film. Contents  [hide]  1 Plot 2 Cast 3 Production 4 Reaction 4.1 Critical response 4.2 Accolades 5 References in popular culture 6 Television adaptation 7 Home media 8 See also 9 References 10 External links Plot[edit] When Socorro, New Mexico housewife Alice Hyatt's uncaring husband Donald is killed in an accident, she decides to have a garage sale, pack what's left of her meager belongings and take her precocious son Tommy to her childhood hometown of Monterey, California, where she hopes to pursue the singing career she'd abandoned when she married. Their financial situation forces them to take temporary lodgings in Phoenix, Arizona, where she finds work as a lounge singer in a seedy bar. There she meets the considerably younger and seemingly available Ben, who uses his charm to lure her into a sexual relationship that comes to a sudden end when his wife Rita confronts Alice. Ben breaks into Alice's apartment while Rita is there and physically assaults her for interfering with his extramarital affair. When Alice tells Ben to calm down, he threatens her also and further smashes up the apartment. Fearing for their safety, Alice and Tommy quickly leave town. Having spent most of the little money she earned on a new wardrobe, Alice is forced to delay their journey to the West Coast and accept a job as a waitress inTucson so she can accumulate more cash. At the local diner owned by Mel, she eventually bonds with her fellow servers—independent, no-nonsense, outspoken Flo and quiet, timid, incompetent Vera—and meets divorced local rancher David, who soon realizes the way to Alice's heart is through Tommy. Still emotionally wounded from the difficult relationship she had with her uncommunicative husband and the frightening encounter she had with Ben, Alice is hesitant to get involved with another man so quickly. However, she finds out that David is a good influence on Tommy, who has befriended wisecracking, shoplifting, wine-guzzling Audrey, a slightly older girl forced to fend for herself while her mother makes a living as a prostitute. Alice and David warily fall in love, but their relationship is threatened when Alice objects to his discipline of the perpetually bratty Tommy. The two reconcile, and David offers to sell his ranch and move to Monterey so Alice can try to fulfill her childhood dream of becoming another Alice Faye. In the end, Alice decides to stay in Tucson, coming to the conclusion that she can become a singer anywhere. Cast[edit] Ellen Burstyn as Alice Hyatt, a woman in her thirties who once worked as a singer Mia Bendixsenas 8-year-old Alice Alfred Lutter as Tommy, Alice's talkative preteen son Kris Kristofferson as David, a regular customer of Mel's diner Billy "Green" Bush as Donald, a truck driver, Alice's husband Diane Ladd as Florence Jean Castleberry, a hardened, sharp-tongued waitress Valerie Curtin as Vera, a shy, awkward waitress Lelia Goldoni as Bea, Alice's friend and neighbor in Socorro. Lane Bradbury as Rita Vic Tayback as Mel, a short-order cook who owns his own diner Jodie Foster as Audrey, a tomboyish girl with delinquent tendencies Harvey Keitel as Ben, a hot-tempered man who assembles gun ammunition for a living Murray Moston as Jacobs Harry Northup as Joe & Jim's bartender Director Martin Scorsese cameoed as a customer while Diane Ladd's daughter, future actress Laura Dern, appears as the little girl eating ice cream from a cone in the diner. Production[edit] Ellen Burstyn was still in the midst of filming The Exorcist when Warner Bros. executives expressed interest in working with her on another project. Burstyn later recalled, "It was early in the woman's movement, and we were all just waking up and having a look at the pattern of our lives and wanting it to be different… I wanted to make a different kind of film. A film from a woman's point of view, but a woman that I recognized, that I knew. And not just myself, but my friends, what we were all going through at the time. So my agent found Alice Doesn't Live Here Anymore… When I read it I liked it a lot. I sent it to Warner Brothers and they agreed to do it. Then they asked who I wanted to direct it. I said that I didn't know, but I wanted somebody new and young and exciting. I called Francis Coppolaand asked who was young and exciting and he said 'Go look at a movie called Mean Streets and see what you think.' It hadn't been released yet, so I booked a screening to look at it and I felt that it was exactly what…Alice needed, because [it] was a wonderful script and well written, but for my taste it was a little slick. You know – in a good way, in a kind of Doris Day–Rock Hudson kind of way. I wanted something a bit more gritty."[3] Burstyn described her collaboration with director Martin Scorsese, making his first Hollywood studio production,[4] as "one of the best experiences I've ever had". The director agreed with his star that the film should have a message. "It's a picture about emotions and feelings and relationships and people in chaos," he said. "We felt like charting all that and showing the differences and showing people making terrible mistakes ruining their lives and then realizing it and trying to push back when everything is crumbling – without getting into soap opera. We opened ourselves up to a lot of experimentation."[3] Scorsese's casting director auditioned three hundred boys for the role of Tommy before they discovered Alfred Lutter. "I met the kid in my hotel room and he was kind of quiet and shy," Scorsese said. But when he paired him with Burstyn and suggested she deviate from the script, he held his own. "Usually, when we were improvising with the kids, they would either freeze and look down or go right back to the script. But this kid, you couldn't shut him up."[3] The film was shot on location in Amado, Tucson, and Phoenix. A Mel's Diner still exists in Phoenix.[3] 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. In a film clip fromConey Island, Betty Grable is heard singing "Cuddle Up a Little Closer, Lovey Mine" by Otto A. Harbach and Karl Hoschna; and in a film clip from Hello Frisco, Hello, Alice Faye performs "You'll Never Know" by Harry Warren and Mack Gordon. Reaction[edit] Critical response[edit] Upon its 1974 release, the film was near-unanimously praised by the critics, and grossed $21,044,810 worldwide.[1] On Rotten Tomatoes, the film has a 95% "Fresh" rating.[5] Vincent Canby of The New York Times called it a "fine, moving, frequently hilarious tale" and observed it "is an American comedy of the sort of vitality that dazzles European film critics and we take for granted. It's full of attachments and associations to very particular times and places, even in the various regional accents of its characters. It's beautifully written…and acted, but it's not especially neatly tailored… At 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. It's Miss Burstyn's movie and part of the enjoyment of the film is in the director's apparent awareness of this fact… 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 film-makers."[6] Roger Ebert of the Chicago Sun-Times called the film "one of the most perceptive, funny, occasionally painful portraits of an American woman I've seen" and commented, "The movie has been both attacked and defended on feminist grounds, but I think it belongs somewhere outside ideology, maybe in the area of contemporary myth and romance."[7] Ebert put the film at #3 of his list of the best films of 1975 (even though the film came out in '74).[8] The film did not go without its detractors, however. Variety thought the film was "a distended bore," saying it "takes a group of wellcast film players and largely wastes them on a smaller-than-life film - one of those 'little people' dramas that makes one despise little people."[9] TV Guide rated the film three out of four stars, calling it an "effective but uneven work" with performances that "cannot conceal the storyline's shortcomings."[10] Accolades[edit] Ellen Burstyn won the Academy Award for Best Actress. Diane Ladd was nominated for the Academy Award for Best Supporting Actress but lost to Ingrid Bergmanin Murder on the Orient Express, and Robert Getchell was nominated for the Academy Award for Best Original Screenplay but lost to Robert Towne for Chinatown. The film won the BAFTA Award for Best Film, and BAFTA Awards went to Burstyn for Best Actress in a Leading Role, to Diane Ladd for Best Actress in a Supporting Role, and to Getchell for Best Screenplay. Martin Scorsese was nominated for Best Direction but lost to Stanley Kubrick for Barry Lyndon. Getchell was nominated for the Writers Guild of America Award for Best Original Screenplay, Burstyn and Ladd were nominated for Golden Globe Awards for Best Actress in a Motion Picture Drama and Best Supporting Actress in a Motion Picture, respectively, and Scorsese was nominated for the Palme D'Or at the 1975 Cannes Film Festival.[11] References in popular culture[edit] The introduction to the Howard Jones song "Look Mama" features a section of dialogue from this film. Character Frasier Crane references the movie in Cheers Season 11 Episode 17 when Lilith returns asking for a second chance. Television adaptation[edit] Main article: Alice (TV series) The film inspired the sitcom Alice which was broadcast by CBS from August 1976 through July 1985. The only member of the film cast to reprise his role was Vic Tayback as Mel (though his diner was moved to Phoenix). Alfred Lutter portrayed Tommy in the pilot episode but was replaced by Philip McKeon for the series. Diane Ladd joined the show later in its run, but in a role different from that she had played in the film. Home media[edit] Warner Home Video released the film on Region 1 DVD on August 17, 2004. It is in anamorphic widescreen format with audio tracks in English and French and subtitles in English, French, and Spanish. Bonus features include commentary by Martin Scorsese, Ellen Burstyn, and Kris Kristofferson and Second Chances, a background look at the making of the film. ALICE DOESN'T LIVE HERE ANYMORE By Vincent Canby Published: January 30, 1975 Alice Hyatt (Ellen Burstyn) would seem to be up a creek. She lives in semi-urban New Mexico, married to a human slug who drives a soft-drink truck and who is so alienated from their twelve-year-old son, Tommy (Alfred Lutter), that when we first see the family together it seems as if the father is no more than a particularly unpleasant, demanding boarder. Suddenly and fortuitously everything changes. Donald, Alice's husband, is killed in a highway accident and Alice must take charge of her own life, which, until this time, she has always left in the care of others. Martin Scorsese's Alice Doesn't Live Here Anymore, which opened yesterday at the Sutton Theater, is the fine, moving, frequently hilarious tale of Alice's first lurching steps toward some kind of self-awareness and self-sufficiency. The story moves across the American Southwest as Alice and Tommy, their belongings stuffed into their station wagon, set off on the journey back to Alice's hometown of Monterey, California. The geography is familiar and mostly flat, strewn with motels, drive-in restaurants, taverns, service stations and diners—the bright, shiny artifacts of America's mobile optimism. The interior landscape of the film is something else again. It's a Krazy Kat world where it's difficult to tell the difference between night and day, between robust laughter and hysterical tears, where the brick that hits you in the head may cause a slight concussion but may also knock some sense into you. The experience is scary but if you keep your wits about you, as Alice ultimately does, the chances are that things will work out. You'll get a slight purchase on survival, on life. Alice Doesn't Live Here Anymore seems especially remarkable because it was directed by the man who first smashed into our consciousness with an entirely different kind of movie, Mean Streets, a male-dominated melodrama about life in New York's Little Italy. Alice Doesn't Live Here Anymore is an American comedy of the sort of vitality that dazzles European film critics and we take for granted. It's full of attachments and associations to very particular times and places, even in the various regional accents of its characters. It's beautifully written (by Robert Getchell) and acted, but it's not especially neatly tailored. It begins rather badly, with an unnecessary sequence showing Alice as a little girl, and then jumps forward to Alice's home life with her slob husband, played at such a high pitch you're not sure that Mr. Scorsese and the actors will be able to sustain whatever it is they are about. You don't know at first. It's a comedy that creeps up on you, somewhere near the Arizona state line, as Tommy begins to get on Alice's nerves by threatening to be carsick. At the center of the movie and giving it a visible sensibility is Miss Burstyn, one of the few actresses at work today (another is Glenda Jackson) who is able to seem appealing, tough, intelligent, funny, and bereft, all at approximately the same moment. It's Miss Burstyn's movie and part of the enjoyment of the film is in the director's apparent awareness of this fact, as in a sequence in which Alice is making a little extra money by singing and playing ersatz cocktail-piano in a roadside tavern. Alice is never going to bring show business to its knees, but the beer drinkers love her and Mr. Scorsese circles his camera around her as lyrically as if she were Ida Lupino knocking the customers dead in Road House. Of equal but less spectacular importance are the supporting players, including the men. Although this is a movie that takes women seriously, and although it is essentially the chronicle of Alice's liberation, Mr. Scorsese has not shortchanged the actors, especially Harvey Keitel, as a small-town sadist who traps Alice for a while; Kris Kristofferson, as the comparatively gentle rancher who wins her; and Alfred Lutter, as her son who, when the chips are down, is not at all bad. Two other performances must be noted, those of Diane Ladd and Valerie Curtin as waitresses in a diner where Alice works. 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 film-makers. ALICE DOESN'T LIVE HERE ANYMORE (MOVIE) Directed by Martin Scorsese; written by Robert Getchell; director of photography, Kent L. Wakeford; edited by Marcia Lucas; music by Richard La Salle; production designer, Toby Rafelson; produced by David Susskind and Audrey Maas; released by Warner Brothers. Running time: 113 minutes. With: Ellen Burstyn (Alice Hyatt), Kris Kristofferson (David), Alfred Lutter (Tommy), Harvey Keitel (Ben), Diane Ladd (Flo), Lelia Goldoni (Bea), Jodie Foster (Audrey), Valerie Curtin (Vera), Billy Green Bush (Donald), Lane Bradbury (Rita), and Vic Tayback (Mel). Martin Scorsese’s” Alice Doesn’t Live Here Anymore” opens with a parody of the Hollywood dream world little girls were expected to carry around in their intellectual baggage a generation ago. The screen is awash with a fake sunset, and a sweet little thing comes strolling along home past sets that seem rescued from “The Wizard of Oz.” But her dreams and dialogue are decidedly not made of sugar, spice, or anything nice: This little girl is going to do things her way. WATCH NOW That was her defiant childhood notion, anyway. But by the time she’s thirty-five, Alice Hyatt has more or less fallen into society’s rhythms. She’s married to an incommunicative truck driver, she has a precocious twelve-year-old son, she kills time chatting with the neighbors. And then her husband is unexpectedly killed in a traffic accident and she’s left widowed and -- almost worse than that -- independent. After all those years of having someone there, can she cope by herself? She can, she says. When she was a little girl, she idolized Alice Faye and determined to be a singer when she grew up. Well, she’s thirty-five, and that’s grown-up. She has a garage sale, sells the house, and sets off on an odyssey through the Southwest with her son and her dreams. What happens to her along the way provides one of the most perceptive, funny, occasionally painful portraits of an American woman I’ve seen. The movie has been both attacked and defended on feminist grounds, but I think it belongs somewhere outside ideology, maybe in the area of contemporary myth and romance. There are scenes in which we take Alice and her journey perfectly seriously, there are scenes of harrowing reality and then there are other scenes (including some hilarious passages in a restaurant where she waits on tables) where Scorsese edges into slight, cheerful exaggeration. There are times, indeed, when the movie seems less about Alice than it does about the speculations and daydreams of a lot of women about her age, who identify with the liberation of other women, but are unsure on the subject of themselves. A movie like this depends as much on performances as on direction, and there’s a fine performance by Ellen Burstyn (who won an Oscar for this role) as Alice. She looks more real this time than she did as Cybill Shepherd’s available mother in “The Last Picture Show” or as Linda Blair’s tormented mother in “The Exorcist.” It’s the kind of role she can relax in, be honest with, allow to develop naturally (although those are often the hardest roles of all). She’s determined to find work as a singer, to “resume” a career that was mostly dreams to begin with, and she’s pretty enough (although not good enough) to almost pull it off. She meets some generally good people along the way, and they help her when they can. But she also meets some creeps, especially a deceptively nice guy named Ben (played by Harvey Keitel, the autobiographical hero of Scorsese’s two films set in Little Italy). The singing jobs don’t materialize much, and it’s while she’s waitressing that she runs into a divorced young farmer (Kris Kristofferson). They fall warily in love, and there’s an interesting relationship between Kristofferson and Alfred Lutter, who does a very good job of playing a certain kind of twelve-year-old kid. Most women in Alice’s position probably wouldn’t run into a convenient, understanding, and eligible young farmer, but then a lot of the things in the film don’t work as pure logic. There’s a little myth to them, while Scorsese sneaks up on his main theme. The movie’s filled with brilliantly done individual scenes. Alice, for example, has a run-in with a fellow waitress with an inspired vocabulary (Diane Ladd, an Oscar nominee for this role). They fall into a friendship and have a frank and honest conversation one day while sunbathing. The scene works perfectly. There’s also the specific way her first employer backs into offering her a singing job, and the way Alice takes leave from her old neighbors, and the way her son persists in explaining a joke that could only be understood by a twelve-year-old. These are great moments in a film that gives us Alice Hyatt: female, thirty-five, undefeated ****   Watch Out, We're Mad! (...altrimenti ci arrabbiamo!) Original DVD cover - Art by Renato Casaro Directed by Marcello Fondato Produced by Mario Cecchi Gori Written by Marcello Fondato Francesco Scardamaglia Starring Terence Hill Bud Spencer Music by Oliver Onions Cinematography Arturo Zavattini Edited by Sergio Montanari Alfonso Santacana Distributed by Columbia Pictures (US) Release date March 29, 1974 (Italy) May 1976 (USA) Running time 97 minutes Country Italy Spain Language Italian English Watch Out, We're Mad! (Italian: ...altrimenti ci arrabbiamo!) is a 1974 Italian-Spanish international co-productionaction comedy starring the comedy team of Terence Hill and Bud Spencer.[1][2] Contents  [hide]  1 Plot 2 Cast 3 References 4 External links Plot[edit] Somewhere in Spain, off-road race car driver Ben (Spencer) is anticipating the next rallycross race, because of the prize—a red Puma dune buggy with a yellow top. However, he does not count on "The Kid" (Hill) entering the competition, who also has a talent for the sport—and an eye on that same dune buggy. During the race, each man battles furiously to the finish line. But in a surprise finish, they both end up tying for first place, and dash for the buggy, reaching it at the same time. As a result, they are both awarded the dune buggy. Of course, sharing is out of the question, so they soon get into a serious discussion as who gets the buggy, at first suggesting betting it in a game of cards, and arm-wrestling. Finally they decide on a "beer and sausages" duel in the funfair's pub, in which "the first one that blows up loses the car and pays the tab". The challenge is roughly interrupted by men working for "The Boss" (Sharp), a building profiteer that wants to demolish Luna Park so he can replace it with a skyscraper, who proceed to tear up the beerhouse and threaten the customers. Ben and Kid agree to take their contest elsewhere, but when ordered by one of them to leave the car under the threat of destroying it, Ben and Kid dismiss him and drive away, which results in the buggy being rammed by another car, wrecking it. Resolute to reclaim a new buggy, the two barge into the Boss' restaurant during a dance party, and demand that he replaces the buggy, otherwise they'll "get mad". After the two leave, the boss is inclined to buy them a new buggy to compensate them, but is discouraged by the "Doctor" (Pleasence), a German-born Freudian psychologist: he believes that Ben and Kid are two "spoiled children" that think the boss is the "father figure". To give in to their demand would be a bad psychological fallout. The Doctor exalts the Boss' wickedness, goading him into dealing with the two, and the Boss sends his henchman Attila after them, spraying gasoline onto Ben's car and lighting it aflame, though they're able to put it out by driving into a nearby car wash. Feeling that he didn't get their point, Kid moves on to persuade the Boss to give them the dune buggy, with Ben reluctantly tagging along, partially due to him wanting to study his part for the choir. The first attempt ends with an all-out brawl in the fairgrounds' gym, where the two beat up Attila and his henchmen, which in turn infuriates the Boss enough to send a motorcycle gang after them. After a chase scene through a nearby forest area and the motorcycle gang being disposed of, the Doctor persuades the Boss to send Paganini, a highly skilled assassin from the Chicago Underworld, after them. The assassin confronts the two, although both manage to evade his attempts, with Kid luring him away from Ben's place and to the auditorium where the choir Ben is a part of is in. This culminates in a confrontation right in the middle of the repetition of the choir, which eventually results in Ben getting kicked out, despite the assassin himself being caught by Kid and forced at gunpoint to play in the Boss' restaurant. Infuriated, the Boss is about to use his trademark punishment where he stabs his fork into the hands of his henchmen on the Doctor, only for him to suggest to target Jeremiah, Ben's assistant and a former cook who worked for the Boss, instead, insisting that he is the mastermind behind their actions. After Ben sends Kid away from having him kicked out of the choir, he finds Jeremiah beaten up and injured in his garage, who mentions he was attacked by the Boss's men. Angered, he heads directly to the boss' restaurant to confront him, where the Kid meets up with him. After being turned away by the doorman, Ben and Kid force their way into the restaurant using Ben's car and demolish it as they drive through inside, after which they have a massive brawl against Boss' henchmen. In the end, the Boss finally has had enough and presents Ben and Kid with not one, but two of the dune buggies they had been wanting, one for each of them. But as they have fun with the buggies, the Kid gets distracted by the female employee of the funfair he had taken interest in, resulting in him crashing and destroying Ben's buggy. As Ben watches the burning wreckage, Kid sits next to him, and the pair talk over what to do to decide who gets the remaining buggy. Cast[edit] Terence Hill as Kid Bud Spencer as Ben John Sharp as the Boss Donald Pleasence as the Doctor Deogratias Huerta as Attila Luis Barbero as Jeremias Patty Shepard as Liza Manuel de Blas as Paganini Emilio Laguna as the conductor of the choir .     ebay3601

  • Condition: Used
  • Condition: The poster is in very good condition. Used. One fold. Will definitely disapear under a framed glass. ( Pls look at scan for accurate AS IS images )
  • Country/Region of Manufacture: Israel
  • Religion: Judaism

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