Every film from Roger Ebert's "Great Movies" essays.
1 woman became 2/2 women became 3/3 women became 1
Pinky is an awkward young teen who starts work at a spa in the CA. Desert. She becomes overly attached to fellow spa attendant, Millie when she becomes Millie's roommate. Mille is a lonely outcast who desperately tries to win attention with constant upbeat chatter. They hang out at a bar owned by a strange pregnant artist and her has-been cowboy husband. After each of 2 emotional crises, the three woman steal and trade each other's personalities until they settle into a new family unit that seems to give each woman what she was searching for.
Born from a dream and sharing the same inconsistent logic, Robert Altman’s 3 Women is a strange and elusive drama exploring the transitory nature of identities. Although best known for his narratively complex ensemble dramas it is Altman’s experimental chamber pieces that provide some of his most interesting work.
As the title implies, 3 Women, is centred on the complicated and shifting relationships between three women in the Californian desert. Sissy Spacek stars as the naive Pinky, a young woman from Texas who becomes obsessed with her colleague and roommate, Millie (Shelley Duvall). Millie is a woman with a deluded sense of confidence who is blindly ignored by all those around her. The third woman in this triumvirate is Janice…
I sort of wish the film ended at the 'dream' sequence. Altman remains perfectly ambiguous until then, and even had he not resolved the mystery, there would have been more than enough to draw one's own conclusions from it. It's in those final 10 minutes that the film becomes erratic and incoherent. Like Lost Highway, making sense doesn't seem to Altman's motive; but unlike Lynch's piece, the way Altman lays out the rest of the film seems to suggest it's leading somewhere concrete, leaving its resolution unfulfilling, vague, and virtually unknowable.
However, that's merely a fraction of the picture. The rest, following the eerie relationship shared between Duvall and…
A lot of Altman's films feel like dreams to me but this was the only one literally based on one. It is also the one that by the end, appears unfinished, like all dreams, but still feels like a full journey has been taken. Altman received the green light from 20th Century Fox without a finished screenplay, only the dream idea and who would play the leads. Further evidence of how much influence was turned over to these rule-breaking maverick filmmakers in the 70s. Makes modern studio output look like the nightmarish comittee-approved, watered down, juvenile-marketed, Twilight Zoney counter-universe that we all know it has become.
the failure of an attempted escape from a self-replicating cycle of inherited behavior, a whirlpool of prescribed femininity, its transmission from generation to generation a form of psychological transference. Janice Rule fires bullet after bullet at a picture of a snake eating its own tail.
I cannot begin to fathom, let alone fashion, a proper response to such pure cinematic poetry. As with seeing STRAW DOGS and KING LEAR before it, here is another of those all too terribly rare lucid viewing experiences. Discovering this film tonight, on 35mm, makes me feel confident that more or less waiting to thoroughly investigate Robert Altman's work by way of UCLA's very near-complete retrospective is a kind of incredible (if incidental) fortune. I'll also never forget the nameless man in tonight's audience who suddenly stood up during the film's final reel, as if unable to sit, and never sat back down until the end credits. It may be nothing, it may remain unexplained, but part of me feels as if the film elicited such an intense kinesthetic response (discomfort? terror? confusion?) that - for this man - sitting was simply not an option.
I was not ready for what I just watched. A seemingly innocent tale about two roommates who don't get along turns into a weird, near psychological horror.
There are some sequences in this movie that totally throw you off (in a good way of course). It's slow but never boring. I think that's mostly due to the fact that Shelley Duvall and Sissy Spacek are both excellent. It's a pretty quiet character study for the majority of the film and then it turns and gets dark and awesome.
This was an unexpected mind-blower. Absolutely mesmerizing and weird, with that lush 1970s cinematography. I didn't totally dig some of the music, but otherwise loved this mysterious film. A puzzle to be solved, maybe, after more viewings. Side note: amazing what a little make-up does for Sissy Spacek.
Amazing performances in this complex study of women searching for stability and identity. Equally about deception and persona, the film follows the leads as they try on roles, searching for an arrangement that works. It's an uncomfortable journey, and my sympathies were recalibrated several times. I'm still pondering some of the imagery and outcomes, which to me means it was well worthwhile.
New favorite film. Wow.
The Mulholland Dr of the 70s. Such a unique hypnotic masterpiece by Robert Altman. It's like a nice blend of Persona, Raymond Carver and the final act of 2001: A Space Odyssey. I'm amazed at how painfully overlooked it is. This isn't the kind of film Altman is generally known for, yet it's one of his best
An unsettling and bizarre experience, featuring two great lead performances by Shelley Duvall as the socially inept Millie, and by Sissy Spacek as an awkward teenager obsessed with Duvall. A great score really helps create the creepy atmosphere I found present throughout the film, and it deals with some interesting stuff which I'm pretty sure I'm not completely able to comprehend, but I suppose I got something out of it.
"Dreams can't hurt you."
Brilliantly directed by Robert Atlman, this classic film starring Shelly Duvall, Sissy Spacek and Janice Rule tells the story of, you guessed it, three women. But is it really three women, or one, just at a different stage of her life throughout the film, whisping about underneath the waves.
The tragedy of Shelly Duvall's character, Millie, is that she is constantly lying to herself and others about her affluent lifestyle. You really feel bad for her throughout and her acting was just perfect. The role was complex to a point that you can almost feel her backstory through her eyes.
Pinky (Mildred) shares the same name as Shelly Duvall's character, and this is no coincidence. The…
In which Shelly Duvall's existence is lonelier and scarier than at the Overlook Hotel.
I honestly am not entirely sure what I just watched. I know enough though to say that it's probably my favorite Altman movie (though The Long Goodbye probably is up there too).
SYMBOLISM: THE MOVIE
THIS IS THE BEST FILM EVER
Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…
A big collection of films that might be considered as strange, mindfucking, surreal and weird. Sorted by year. Suggestions are…