3 donne

Indeed, few movies can haunt you 40 years after you've first seen them. Not only that, even after you've seen them 20 times, still leaving you with a desire to see them again and again? 3 Women is just such a movie. From it's haunting Gerald Busby score, to Bodhi Wind's arresting murals, to the captivating performances by Shelley Duvall and Sissy Spacek to Robert Altman's deft writing and direction. This is a movie which will haunt you and fascinate you.

I knew this movie was no ordinary movie when I seemed to be the only one in that 1977 audience who caught onto Shelley's disobedient skirt. Things began to appear slanted just off center - you just didn't know how off center they were. And that was and is the magic of this film. You never know what utter ridiculous impossibility of life will take hold of you and bring you through such a unusual journey.

Even as the credits start to roll, you begin to wonder: what have I just witnessed? what does this mean? why does it leave me wanting for answers?

Only after you've seen it as many times as I have do you stop asking those questions and accept all of these occurrences as another window in the mind of a genius, which is Robert Altman. With all due respect to Nashville, this is his pinnacle of achievement.

3 Women is a seriously strange mood study that plays like a languid nightmare. It is an abstract and unusual film, loaded with symbolism. The logic, if there is any, is dream logic. Everything is open to interpretation. There is no sense to be made of it so don't even try.

The first half of the film is slow and aimless but things get very interesting once Pinky (brilliantly acted by Sissy Spacek) hits her head. Pinky sort of becomes Millie (Shelley Duvall) and Millie sort of becomes Pinky and they both sort of become the dream of Willie (Janice Rule) or maybe they don't. Listening to director Robert Altman's commentary on the DVD is revealing. He says that he sees the film as a painting and that the audience should feel it but not understand it.

The references to Persona are obvious but while watching 3 Women I was reminded of another haunting and puzzling film- Picnic at Hanging Rock.

Mysterious and deeply Freudian, 3 Women is one truly unique work so sit back and marvel at the inexplicable.

Put together a top-shelf Raymond Carver story and the last two reels of 2001 and you have a dim idea of the unique genius of Altman's 1977 masterpiece, probably the most original movie ever made within the studio system. Shelley Duvall is a practiced flirt and would-be social butterfly, oblivious to the total failure of her Donna Reed mystique, and Sissy Spacek is the childlike tag-along who idolizes her. That's all I'll say about the story, which makes turns you couldn't have guessed at in ways that can't be summarized. Humane, funny, staggeringly strange and deeply creepy, THREE WOMEN defines certain social strata and modes of interaction that you've never seen in a movie before or since--and then goes out on a mystical limb that makes the last third of APOCALYPSE NOW look prosaic. With all due respect to NASHVILLE, MCCABE and many others, Altman never made a better film.

I don't feel I can add anything to the excellent commentary by the other reviewers for "3 Women"; I just want to urge film lovers of all stripes to check out Altman't commentary on the Criterion DVD. In the liner notes, they refer to it as "wide-ranging;" it IS that, and expansive, too. It is almost as if Altman was saying to himself, "Well, I'm not going to be around much longer, so I am going to speak my peace about how I feel about film-making and let it all hang out". For the true aficionado, this is as good as it gets. You'll want to savor it in chunks it is so thought-provoking. Not only does Altman reveal all the hidden meanings of the film, he explains at length (with copious examples) the philosophy of his art. It shed light on my previous encounters with Altman's "difficult" style; highly recommended.

Three Women was another Robert Altman masterpiece. His films have always deeply explored the frailties, of the human personality. And Three Women is typical of Altman's deftness, regarding intense characterizations.

This film takes place in the late 70s, in a remote California town. It revolves around three very different female characters, and the effects that each of them has on each other's lives.

Shelley Duvall is cast as Millie. Millie is an intensely garrulous woman. She's obsessed with talking about recipes, that she garners from women's magazines. She annoys those around her, with her constant chatter about her 'latest recipe'.

Millie also desperately wants to impress her male acquaintances. Men seem to mostly shun Millie though, which doesn't stop her from trying to gain their attention.

Millie has a dead-end job, working as a nurse's aid in a nursing home. Her supervisors are brusque, and unsympathetic. She tries to be friendly and helpful, but this often causes her more problems with her bosses.

Pinky (played by the very talented Sissy Spacek) moves to Millie's town. She needs a job and is hired as a nurse's aid, at the same nursing home that Millie works at. Millie is assigned to train Pinky in her new job duties. Pinky soon becomes quite attached to Millie.

Finally, Millie has someone around (Pinky), who actually admires her. When Millie posts a notice on the bulletin board at work , indicating that she seeks a roommate, Pinky is only to happy to get the chance to room with Millie. Pinky then moves into Millie's apartment. Though Millie's apartment has a tacky, garish quality, Pinky expresses how sublime she thinks it is.

One afternoon after work, Millie asks Pinky to go with her to a run-down bar. Pinky meets Millie's friend Edgar, who has set-up a shooting rink out back. He constantly practices shooting there, and invites Millie and Pinky to participate. Edgar is a sophomoric, macho-type, who drinks heavily. He also likes to show-off his marksmanship skills.

Millie also introduces Pinky to Willie, who happens to be Edgar's artist girlfriend. Willie is always painting monstrous, sexually explicit creatures around the bar. Pinky is, inexplicably, mesmerized by Willie's offbeat paintings.

Willie has a haunting, remote presence. She mostly watches everyone else from afar, while being intensely involved with her artwork. Willie also happens to live in the same apartment building, as Millie and Pinky. Her disturbing paintings, adorn the bottom of the swimming pool located there.

Basically, the film doesn't have much of a plot. At least not in the traditional, linear manner that audiences are accustomed to. Instead, Altman chose to focus on the psychological aspects of the relationship between the three woman, and how this changes over time.

The friendship between Pinky and Millie becomes tumultuous, for no obvious reason. Willie is the ethereal, mysterious woman of the three. She doesn't interact much with Millie and Pinky throughout the film. Willie's artwork is so hypnotic to Pinky though, that it has a horrible effect on Pinky's psyche, resulting in tragic consequences. The viewer is left to try and fathom why.

All three women in the film, are social misfits. And they each struggle pathetically to function in the alienating, urban environment that they inhabit. Altman did a marvelous job, highlighting the emotional turmoil that the women inflict on each other, during the course of the film.

This is a film that will leave a deep impression, regarding the dynamics of women's friendships in modern life. But don't expect a neat and tidy conclusion, to the conflicts between the three women. More than any film I've ever seen, this one is vastly open to viewer interpretation.