This is what happens when your car breaks down on a Sunday morning and you have nothing else to do…
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 review may contain spoilers. I can handle the truth.
Personnages féminins aux caractères ciselés hantent cette histoire à priori réaliste mais où affleure un onirisme fortement inspiré par le symbolisme des images. Les lieux et les personnages qui les peuplent prennent une dimension myologique, et le film un caractère intriguant, captivant, sans que jamais on sache où il nous emmène vraiment.
Prochain arrêt ? Oui
Six-o-meter : 3/6
Wikipedia says that Robert Altman wrote the treatment for this movie after he had a dream. This movie is unsettling like a dream for sure. I have no idea what this movie is about, but I am pretty sure it is a feminist masterpiece.
The paintings are amazing. The women, submersing in themselves, into texture of every touch of the brush, in every colour. I think that exists here an harmony hard to explain, that disarms when tried to do so.
A triptych, a painting, a film. Not at the same time, and maybe this is why it's a impressive work of art.
This was good, but it seems to be one of those movies that you can't quite figure out in the first viewing. Maybe reading others' interpretations might help me...
Can re-watch this film for the rest of my life and be happy.
Millie's emotions felt so much more tangible upon re-watching this. The first half of the film she's waifish and begins to resent Pinky for her naivety and peculiarities only then to become angry and shocked when Pinky literally becomes Millie. It seems as if Millie would have been flattered that someone was mimicking her or that someone wanted to be her. Instead, her character rejects a literal image of herself and then becomes its mother in multiple senses.
Envy may be the strongest emotional current that circuits the relationship between the women in this movie. Millie's anger is fueled with envy because Pinky performs as Millie in a way that is accepted and well-liked while Millie is constantly rejected for her selfhood.
I really want those paintings in my above ground pool.
It's almost impossible for me to not feel a tiny bit disappointed in how Robert Altman's dreamy 3 Women ended when I was so head-over-heels for what was going on in the first half of the film. It almost seems as though he was trying to justify the surrealist undercurrent to the film, to provide it with more grounded symbolism and narrative, so as to say "now here's what I'm really getting at." That being said, what he's really getting at still isn't made exactly clear, which is good, but still the film feels too eager to explain itself somehow. Now, that itself is not really a dealbreaker of any kind with my opinion on this film; it's still a…
"You're the most perfect person I've met."
Well this certainly was an odd experience. Prior to seeing this I had only seen one film from director Robert Altman (The Long Goodbye) and I decided I needed to fix that. Last night I chose to watch his 1977 classic 3 Women. The first thing I noticed about the film was the score. During the opening credits it had an eerie, mysterious vibe to it, almost like a score you'd expect from a Horror/Thriller. The score remained this way throughout the film and while it caught me off guard at first, by the end I really loved it and felt it was the perfect choice for the film. The film itself seemed…
The 3 women of the title are Millie, Pinky and Willie. Millie and Pinky work together at a health spa for the elderly and the infirm and share an apartment. Willie is an an artist and she never speaks. Millie speaks all the time but no-one listens to her, no-one that is except Pinky who idolises her and would like to be her. Yes, this is Altman's "Persona" with a third woman thrown in for good measure and it's a darkly comic masterpiece.
Altman says he based his screenplay on a dream he had and the film does have a dream-like hallucinatory quality. As Millie and Pinky, Shelley Duvall and Sissy Spacek are virtually never off the screen and they are superb. Duvall won the Best Actress award at Cannes and Spacek won the New York Film Critics Best Supporting Actress prize. The terrific and disquieting score is by Gerald Busby.
Masterpiece( this is going to be a mess of a review of a review; 3 Women is quite a hard movie to describe.)
As I said last night( thanks to those who read my quick thoughts), 3 Women is one of the best, one of the strangest and one of the hardest to watch movies I've ever seen. This movie is so hard to describe to someone who hasn't seen it, but I'll try my best.
It follows two women, Pinky( Sissy Spaciek) and Millie( Shelly Duvall before Jack Nicholson threatened to bash her brains in in The Shining.) Pinky is a very shy and socially award woman who starts to work at a spa with Mille( a very talkative,…
Movies that are slightly off.
High-rated movies with very few views. Suggestions are welcome.