Martin Scorsese, widely known for his intense crime dramas and serious films, showcased a surprising comedic flair early in his career with the 1974 movie Alice Doesn’t Live Here Anymore. This often overlooked Oscar-winning film demonstrates why Scorsese’s talent in comedy directing deserves greater recognition, as it highlights his ability to blend humor seamlessly into stories touching on deep social themes and dramatic narratives.
How “Alice Doesn’t Live Here Anymore” Blended Humor with Feminist Themes
When Scorsese took on the project of directing Alice Doesn’t Live Here Anymore, it marked a stark departure from his previous gritty urban film, Mean Streets. The movie, centered on widowed mother Alice Hyatt’s struggle to find independence in the early 1970s, emerged during a period notable for the women’s movement. This timing made the film a pioneering feminist narrative. The choice of Scorsese to helm it was unexpected, especially after Shirley MacLaine declined the lead role, but Ellen Burstyn’s support and a referral from Francis Ford Coppola were pivotal in securing him as director.
Burstyn sensed that Scorsese’s fresh and vibrant approach would infuse the female-centered story with authenticity and immediacy, an intuition proven right by Burstyn’s first Oscar win for the role. Scorsese also cast a young Jodie Foster as the witty friend of Alice’s son, foreshadowing Foster’s later collaboration with him in the darker film Taxi Driver. Yet it was the scenes set in the diner, where Alice worked as a waitress, that injected a distinct humor into the film, offering relief amid the character’s personal hardships.
These diner moments resonated strongly with audiences and even inspired the popular CBS sitcom Alice, which aired from 1976 to 1985 and featured actor Vic Tayback reprising his role as the grouchy cook Mel. Diane Ladd’s Oscar-nominated performance as Alice’s outspoken coworker Flo also bridged the movie and television adaptation, where she appeared as a recurring character for one season. Scorsese’s early engagement with comedy through these scenes hinted at his untapped potential in the genre, culminating years later when he directed the comedic drama After Hours in 1985, featuring actors such as Catherine O’Hara and Terri Garr.
The Humor in Scorsese’s Films and His Partnership with Robert De Niro
Scorsese’s longstanding collaboration with Robert De Niro provides key insights into how he skillfully wove humor into otherwise serious or violent stories. During the 1970s through the 1990s, De Niro was celebrated for intense dramatic roles, notably his Oscar-winning portrayal of the young Vito Corleone in The Godfather Part II. Although that role was devoid of humor, their joint projects often balanced gritty themes with moments of levity.
In films like Taxi Driver and the boxing biopic Raging Bull, the dynamics between De Niro’s characters and their counterparts sometimes delivered unexpected funny scenes, especially with Joe Pesci’s involvement. Pesci’s memorable performance in Goodfellas, reuniting with Scorsese and De Niro in 1990, contained humor that contributed to the film’s dynamic tone and earned Pesci an Oscar. Similarly, The King of Comedy (1983), starring De Niro as aspiring stand-up comic Rupert Pupkin, blended dark comedy with unsettling themes, reinforced by Jerry Lewis’s appearance. Although the humor was present, the film’s unsettling nature kept it at the edge of conventional comedy.
By the late 1990s, De Niro had successfully transitioned to full-fledged comedies, featuring in hits like Analyze This alongside Billy Crystal and the Meet the Parents series, the latter of which continues to have new installments. This trajectory underscores how Scorsese’s influence may have encouraged De Niro to embrace comedy more openly, cementing a legacy that spans multiple genres.
Recent Films Highlight Scorsese’s Subtle Yet Effective Use of Humor
Scorsese’s later movies continue to reveal his ability to incorporate humor even within serious storylines. His 2006 Best Picture-winning crime drama The Departed showcased this with sharp, witty dialogue and performances, especially from Jack Nicholson and Mark Wahlberg. Wahlberg’s portrayal of a cynical police officer added dry humor that softened the intense chaos of the gangster world depicted in the film.
His 2013 film The Wolf of Wall Street came closest to a comedy by focusing on the wild excess and corruption of stockbroker Jordan Belfort’s life. The pairing of frequent collaborator Leonardo DiCaprio and comedian-turned-actor Jonah Hill resulted in many hilarious sequences, enriched further by Matthew McConaughey’s standout comedic moments. However, after this film, Scorsese’s direction shifted to much darker material such as Silence, The Irishman, and Killers of the Flower Moon, all markedly grim and devoid of comedic tone.
The thought-provoking and tense nature of these recent works leaves little room for humor, yet the idea that Scorsese could revitalize some levity by casting comedic talents like Adam Sandler or Will Ferrell remains compelling. Both actors have demonstrated the range to perform dramatic roles while excelling at humor, providing an opportunity for Scorsese to explore a tonal balance that appeals to a wider audience.
For dedicated fans, the moments of laughter nestled within Scorsese’s violent and intense films are warmly embraced. His filmography reveals a director with a nuanced comic sensibility that enriches even his darkest stories. This often hidden strength suggests that expanding his focus toward more comedy, or comedy-inflected projects, could offer fresh dimensions to his remarkable career without compromising his artistic integrity.
As Scorsese continues to develop new projects, audiences and critics alike might hope to witness more of this versatile filmmaker’s unique gift for blending humor with complex storytelling, proving why Martin Scorsese comedy directing remains an area rich with untapped potential.
