High-rated movies with very few views. Suggestions are welcome.
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 admire Altman's craft, certainly, when he delivers images like Millie crossing a massive mural of mutated, naked human beings with their genitals askew and erect, their faces distorted in what looks to me like horror. Or when he shows just a bit of Millie's dress sticking out from her car door (the first image I needed to capture in this film) or Pinky's curled, broken form in the pool (or just before, standing up to the rail). Some of these evoke wonder, some horror, some just surreal desire (what can I say). But.
Well, before but. Everyone seems to talk about how the three women merge into one balanced being or whatever, but no one really seems to reflect…
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.
Not much to add to my Time Out New York review, written for its Film Forum run in 2002, back when there was still no DVD. I've seen this three times now and on both repeat viewings it's turned out to be much weirder and more impervious to analysis than I remembered. That's mostly a good thing.
An insert provided with the DVD of Mulholland Drive offers "David Lynch's ten clues to unlocking this thriller," directing confused viewers to "notice appearances of the red lampshade" and "pay particular attention to the beginning of the film." Robert Altman's 3 Women—a tour de force of dream logic set in Southern California, involving two young women whose identities shift like tectonic…
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.
This is unbelievably slow and the score is excruciating, In conjunction with the miserable paintings that Altman seems obsessed with dwelling on it's just an unpleasant thing to watch. The central conflict of the film seems to be some kind of riff on Bergmans PERSONA? It doesn't help that the two leads are most well known to me anyway from CARRIE and THE SHINING so it feels like we're on the edge of a horror movie.
Whaaaa that was awesome
For the first half of 3 Women, I was taken by an uneasiness much like the mundane moments early in a slasher film. A fair amount can be credited to the woodwind filled score and disassociated background characters of the movie. Our leads are ignored by the whole world, and they even turn on each other with disdain. The movie actuates that feeling in a creepy, unexplainable conclusion. I grew to love this movie, because of the themes, sad but incredible characters, and the illusion of naturalism within a surreal story.
A rapid personality shift is not something we often see in our day to day. In Pinkie's case I would like to think it was a breakdown from how…
Bit of a head-scratcher, this one....apparently it was based on an enigmatic dream that Altman had, and that feeling definitely comes across strongly in the finished product. I wish it had gone a bit further down the psychological horror path that was hinted at a few times, and it looked for a while like it was going for a Lynch/Persona-style identity melding vibe....but it wasn't quite any of those things, and what it was remained elusive to the end. Good film though, Spacek and Duvall are both great.
Film #5 of Smiler Grogan's Scavenger Hunt #2!
Task 5/31: A Robert Altman film
What the fuck was that?!
This film is quite strange, starting off really dull and mundane before going in some crazy directions. I wasn't that invested in it, I don't like these kind of films with the director's head up his own ass. I can't complain about the story not being straightforward, it certainly is, it's just the tone that isn't.
I'm sure there's some hidden meaning behind this film, for all I know this might be a metaphor for the globalization of China, but I don't fucking know. I just don't know what to say about this, and I don't think I want to…
Shelley Duvall has the range of a wet sock and I would probably rather watch the sock
The fact that Altman can make masterpieces as completely different as this, McCabe and Mrs. Miller, and Nashville and still mark them with his own clearly defined style truly speaks to his magnitude as an artist, at least to me.
As usual, the characters themselves (or should I say character?) are cracklingly good, as are all of the performances. I adore how Duvall's gets her dress caught in her car door all the time. It's these little details Altman and his casts always revel in with the personalities they craft. They make for an immensely watchable psychodrama as well.
As for thematics, I'm going to be thinking about this one for a while. Clearly a film of it's time and…
Goodness gracious, what was this? I mean, I loved it, but man. What an impressionistic, unsettling nightmare. Stellar acting from Spacek and Duvall.
Well, that was absolutely nothing like what I expected. Here's what I expected: a complex and realistic character study of three women with a complicated friendship. Like, I dunno, Interiors crossed with Frances Ha. Here's what the film is: a fever dream of shifting and merging identities, sometimes violently, always awkwardly, and often disturbingly. I was fascinated.
Apparently the idea for the film came to Altman in a dream, which I totally believe, because this is very unlike any of the other Altman films I've seen. Sissy Spacek is a shy, wet-behind-the-ears young girl who gets a job at a spa and quickly idolizes a confident and chatty Shelley Duvall who shows her the ropes. But Duvall's confidence is somewhat…
UPDATED: October 21, 2016
The Criterion Collection is a video distribution company that sells "important classic and contemporary films" in…
Movies that are slightly off.