Alice

Brandt Sponseller wrote on IMDB:

Alice Tate (Mia Farrow) is living in New York City, married to Doug (William Hurt), a man from a wealthy family. They have two kids, a lavish condo and domestic employees. Alice eats caviar, spends her days shopping, getting manicures and pedicures, and so on. However, she's not very happy. She's even been thinking about having an affair. When she finally goes to see an acupuncturist, Dr. Yang (Keye Luke), on several friends' advice because her back is bothering her, he tells her that her problem is in her head, not her back. Through his extremely unorthodox treatments, Alice gradually transforms her life.

Although there is a fair amount of light humor in Alice, and it is relatively upbeat and hopeful, the bulk of this film is much more in the vein of director/writer Woody Allen's more "serious" straightforward dramas, ala Interiors (1978), September (1987) and Another Woman (1988). Interestingly, Allen has a strong fantastical thread running through Alice at the same time, and it references a number of literary classics--both thematically and occasionally in terms of more literal content-—resulting in a kinship also with Allen's A Midsummer Night's Sex Comedy (1982).   [ show more ]

At its heart, Alice is a film about awakening and then achieving authenticity. It is told with a nod to Charles Dickens' A Christmas Carol (1843) (which is even supported by the appearance of "O Tannenbaum/We Wish You A Merry Christmas" by Liberace on the soundtrack at one point), with slight references also to Lewis Carroll's Alice's Adventures in Wonderland (1865) and other fantasy literature, including J.M. Barrie's Peter Pan (1911).

The catalyst through all of Alice's revelations is Dr. Yang, whose slightly rundown Chinatown office is symbolic of Alice periodically making trips to another world for enlightenment, or making repeated treks to pose questions to a metaphorical Oracle at Delphi. Dr. Yang's treatments are designed to address the various ways in which Alice needs to "open up", the various emotional needs she must come to terms with.

It is interesting to note, especially after Allen's The Curse of the Jade Scorpion (2001), that the initial spark for Alice's transformation is provided by hypnotism, as that device appears for the same ultimate purpose in Curse. This probably has some significance for Allen outside of his life in film, although it is difficult to say whether its because he's undergone hypnotic treatment himself or whether he just sees it as a metaphor for digging beneath public facades which one has fooled oneself into believing, too.

Dr. Yang's treatments either result in encountering some important person or event from Alice's past and/or tapping into some unrealized potential. The encounters are often not with real persons. They can be memories made almost literal, ghosts, or hallucinations. These are the most direct parallel to A Christmas Carol. As in that story, eventually Dr. Yang's treatments lead Alice away from an embrace of materialism for its own sake to an appreciation of more humanist values. Of course, Allen makes it a bit more complex than this, so that the positive transformation also has an impact on personal relationships that could be seen as negative, as well.

Alice is also remarkable for its cinematography, which is usually symbolic of the dramatic scenarios. Sometimes this is very overt, as when Dr. Yang's office transforms into an amusement park midway (the slowly strobing red light was particularly exquisite, with red also symbolizing caution), and often it is subtler, as with the tracking shots of Alice and Vicki (Judy Davis) seen through various glass-like surfaces, or Alice and Joe (Joe Mantegna) through a fence as prison bars, or Alice and Dr. Yang with a wall in between them as the camera pans from one to the other, and so on.

Of course the performances are good--Allen can even get admirable performances out of actors whom I usually do not care for, such as William Hurt. Of course most of the dialogue can easily be imagined as emerging from Allen's mouth instead of whatever character happens to be on screen. And of course the music selection is a fine collection of mostly pre-bop classic jazz. In other words, this is a typical post-Annie Hall (1977) Allen film, so if you like his style, Alice is a safe bet, and if you already know you dislike his style, you're probably not even reading this far. [ show less ]

Galina wrote on IMDB:

Less known that Allen's "Annie Hall", "Hannah and her Sisters", "Crimes and Misdemeanors", and "Manhattan", "Alice" is a charming and delightful film that can be viewed as Allen's remake of "Juliet of Spirits" with some obvious themes from "Alice in Wonderland". Mia Farrow plays a wealthy New Yorker who one day feels that something is missing in her sheltered and comfortable life. She turns to a Chinese doctor whose magic herbs help her to reevaluate her life and her relationships with her husband, lover, mother, and sister. She may not find the answers for all the questions but she certainly learned a lot about herself. During the few days that film takes place, Alice experiences romance, finds spirituality, and even enjoys the power of invisibility. This film has one of the most optimistic endings in Woody's film. Mia Farrow is absolutely wonderful.

Son of Cathode wrote on IMDB:

Woody returns to his beloved metaphysical turf, last seen in A MIDSUMMER NIGHT'S SEX COMEDY, STARDUST MEMORIES and THE PURPLE ROSE OF CAIRO, in this weird and wonderful fantasy illustrating the existential angst of the vacuous, bored near-rich.

With the claustrophobic urban setting, rich dialogue, lush orchestration and highly-choreographed cinematography, ALICE also covers much of the same aesthetic and psychological territory as Allen's stunning HUSBANDS AND WIVES.

Although Allen is visually absent, this movie is about as close to pure, unvarnished autobiography as Woody will ever get (and all of his films are truly revealing). Allen appears both cynical and loving of the upper-middle class New Yorker lifestyle, a lifestyle he assuredly is intimately familiar with (and most likely has a love-hate relationship with as well). Hurt is a great Woody Allen clone, all of the whining and neurosis without any of the charm, almost as loveless a character as Richard Benjamin in DIARY OF A MAD HOUSEWIFE.   [ show more ]

And Mia Farrow, in her little child hat and squeaky child voice, is an unformed child-woman, a non-person in a world of predatory men, and her emancipation, although supernatural, is nonetheless exciting and enchanting.

ALICE is super-existential, displaying vividly the whole notion of modern alienation in the garb of temporal non-existence. (Its great when Allen injects fantasy elements into his films, because it is as fantasist, rather than whiny orator, that he truly becomes a profound philosopher.)

Allen uses intoxication and hypnosis as excuses to weave intricate, innovative flashbacks, and Alice encounters some very Hamlet-like ghosts as well, who give her advise reminiscent of another great ghost-god in Allen's PLAY IT AGAIN, SAM. A classic scene occurs when Alice dumps a Chinese love potion into the punch bowl at a party, and every dork instantly wants to marry her! Allen very successfully covers some strange territory here.

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