My expectations of [Alice Doesn't Live Here Any More] were based mainly on Scorsese's previous feature, Mean Streets. Though "widely acclaimed," as the ads say, this left me cold. Oh yes, I admired the efficiency of its making. Dark, glinting interiors, edgy dialogue, strategic bursts of action, long takes with the camera immobile or slowly prowling like a hit man waiting to strike—sure, Scorsese knew what he wanted to put on the screen and how to get it there. You can see this ability taking shape in his short student films: the satirical It's Not Just You, Murray skips nimbly through space and time while the simple joke of The Big Shave comes out in a linear crescendo. Scorsese is not only efficient but versatile, matching different means to different ends. But what was the end in Mean Streets?
It seemed to be little more than high-class melodrama—a display of hyped-up situations and attitudes. (pp. 55-6)
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