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ALICE'S RESTAURANT. Director Arthur Penn (Bonnie and Clyde) has transformed Arlo Guthrie's rambling, hilarious talking-blues record of a couple of seasons back into a melancholy epitaph for an entire era. With its combination of wild humor and lingering sadness, Restaurant is one of the most perceptive films about young people ever made in this country...

Author: /time Magazine | Title: Television: Sep. 19, 1969 | 9/19/1969 | See Source »

ALICE'S RESTAURANT. Director Arthur Penn (Bonnie and Clyde) has transformed Arlo Guthrie's rambling, hilarious talking-blues record of a couple of seasons back into a melancholy epitaph for an entire era. With its combination of wild humor and lingering sadness, Restaurant is one of the most perceptive films about young people ever made in this country...

Author: /time Magazine | Title: Television: Sep. 12, 1969 | 9/12/1969 | See Source »

...funny episodes are still there: the garbage dumping after Thanksgiving dinner, the cops investigating "the scene of the crime" and taking "twenty-seven 8-by-10, colored glossy photographs with circles and arrows," and the Army induction with its "injections, inspections, detections, neglections." But Director Arthur Penn (Bonnie and Clyde) has woven these episodes of laughter into a more sober framework. He has transformed a charming shaggy-dog story into a melancholy epitaph for an entire...

Author: /time Magazine | Title: Cinema: End of the Road | 8/29/1969 | See Source »

Penn knows that the humor of a few of the scenes does not contradict, but rather deepens, the tragedy of the whole. As in Bonnie and Clyde, laughter is a kind of ironic counterpoint. The actors, many of them nonprofessionals who perform with repertory-company precision, are constantly framed against autumnal and winter landscapes that give the whole story an aura of aching desolation. Despite a few false steps (like a love scene between Alice and Shelly played with a garage air hose), Alice's Restaurant is one of the best and most perceptive films about young people ever...

Author: /time Magazine | Title: Cinema: End of the Road | 8/29/1969 | See Source »

Parks' meticulous photographic direction (executed by an excellent cameraman, Burnett Guffey, who shot Bonnie and Clyde) only seems to underscore all these melodramatics, lending every character and scene an extra edge of unreality. His shimmering imagery creates a world of benign memory but imperfect drama, in which black is just too beautiful...

Author: /time Magazine | Title: Cinema: Where Black Is Too Beautiful | 8/29/1969 | See Source »

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