3 Women(in Hollywood Movies) 3 Women (1977) - Download Movie for mobile in best quality 3gp and mp4 format. Also stream 3 Women on your mobile, tablets and ipads
Plot: Pinky is an awkward adolescent who starts work at a spa in the California desert. She becomes overly attached to fellow spa attendant, Millie when she becomes Millie's room-mate. Millie is a lonely outcast who desperately tries to win attention with constant up-beat chatter. They hang out at a bar… Runtime: 124 min Release Date: 08 Sep 1977
Mix Drama with Black Comedy with Bizarre with Fantasy Wonderful (by Enrique-Sanchez-56)
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 <more>
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.
I saw "3 Women" in 1977. I went back to the cinema and saw it two more times, before I wrote a review. Though I have seen it many other times since then, today I do not recall every detail. Nevertheless I remember its story dealt with three women whose solidarity allows them to survive in a world dominated by insensitive men. Two of these women move the story, the third one does not have a direct influence on the events, but she is a key figure. There is no puzzle here, no enigma to decipher. It may be based on Robert Altman's dream, it may have a dream sequence, but it is quite <more>
linear and direct, with little relation to dreams' structure or lack of it . I say this today but after finding my review in my files, I think it's ironic and makes me laugh at myself. By 1977 I had not read Susan Sontag's "Against Interpretation" yet and I was trying to decipher what the butter meant in "Last Tango in Paris". But I must admit that I find interesting some of the research I did and a few interpretations I made. I found then various leitmotivs in the movie: first, the grotesquely erotic murals painted and shot at by Willie Janice Rule , that illustrate the oppressive situation of woman in phallocratic societies; water, which according to French philosopher Dane Rudhyar stands for collective consciousness and astral world, a symbol that for me tacitly connected the three women and that has played an important role in other Altman films: "McCabe & Mrs. Miller", "Streamers", "Come Back to the 5 and Dime, Jimmy Dean, Jimmy Dean", "The Gingerbread Man", "Dr. T & the Women", frozen in "Quintet", and even in "HealtH", "Popeye" and "O.C. and Stiggs" ; the image of twins Peggy and Polly, duplicated in Alcira and Doris, mirroring the Millie-Pinky duplicity; and the clinic, as a metaphor of social and moral decay while its members attempt at efficiency. It may sound crazy but I even made a connection between the pool of the boarding house owned by Willie and a woman's womb Willie's , where the temporary symbiosis of Pinky Rose Sissy Spacek into Millie Lammoreaux Shelley Duvall takes place. Today I consider all these more hints than cryptic data, and sometimes they are even too obvious –as the line when Millie says something like "Sometimes Peggy can be Polly, and Polly can be Peggy", gun-crazy Edgar as a symbol of sexual inadequacy and male authoritarianism, and the delivery of the dead child as a metaphor of the sterility of this kind of relationship between men and women. As I remember it today, it is a sad story of female bonding as a means of survival in a consumerist society, narrated in a beautiful cinematic style, with remarkable performances by all. Funny, although Duvall had won the Best Actress Palm d'Or in Cannes, in my review the one who impressed me the most was Rule, because she was able to transmit so much with less than a dozen of lines . By far, it's my favorite Robert Altman movie and one of his masterpieces.
Three Women is an utterly fascinating film, and, by my calculations, is Altman's second best after Nashville, which few films can beat. However, whereas I am so familiar with Nashville that I am actually arrogant enough to believe I can understand it, Three Women does not inspire that sort of confidence in me. I have no clue what exactly it is about.Basically, it is one of those movies where a woman, Pinky, admires her roommate Millie so much that she wishes to emulate her in every way, apparently even trying to steal her identity. In doing so, she freaks her roommate out, as can <more>
certainly be expected. She also freaks the audience out. It isn't all just a bunch of shivering, though. This movie contains a lot of humor which can only be called 'Altmanesque.' The great irony is that Pinky's object of admire is nothing but a bag of hot air. Millie is such a loser. At the film's opening, she is training Pinky for her new job at the nursing home. To any normal person, two weeks into the job, you'd be amazed at how much a moron the person is who showed you the ropes. She brags about men whom she rejects, but all the hot dates she claims to be going on never come to fruition. Millie also overreacts to Pinky's actions, yelling at her for very petty transgressions. When Millie does something that is grossly irresponsible and morally wrong, she attacks Pinky for judging those actions. Meanwhile, Pinky is creepily reciting passages from Millie's diary with the passion of a high school drama student.Taking Ingmar Bergman's Persona as its major inspiration, around halfway through the film, after Pinky has an accident and goes into a coma, the two women begin to switch roles. Millie becomes the passive and protective roommate while Pinky becomes the aggressive vixen. Actually, Pinky becomes the mythic version of Millie. But I have purposely left out the third woman of the title. I really am not sure about her, or the climax and the ending, in which she plays a major part. Her name is Willie, a pregnant woman married to a man named Edgar who will, through the course of the film, also sleep with both Millie and Pinky . They run a bar where Millie likes to hang out, and they also live in the same apartment complex as Millie and Pinky. Edgar is an outgoing joker, and has no problem sleeping around on his wife. Willie is mostly silent, which is why she is easy to forget in the proceedings. She paints in a Native American style all over the bar and the apartment complex. She does so seemingly because she is compelled to. She despises complements about them. Throughout the film, her paintings comment on the situation between Millie and Pinky they're used in a masterful fashion, but the pan-and-scan version that I saw on TV it was also edited for time and content, dag nabbit screws this up a bit . I don't know if she serves much more of a purpose than that for most of the film.It is the ending which is especially peculiar, and it also most effectively channels Persona. Pinky has convinced Millie that she ought to have their apartment's master bedroom to herself and Millie ought to sleep in the living room . Pinky has a surreal dream, which is punctuated by the camera's filming through a fish tank whose blue waters are undulating like a snake, in which she goes through the events of the past few months. She becomes frightened, and, much as Elisabeth Volger does in Persona, she wanders into Millie's bedroom. Here, though, she wakes Millie up, asking if she would mind sharing a bed tonight. As they try to sleep, Edgar wanders into their apartment, drunk off his rocker and spouting that Willie is giving birth all alone. Millie and Pinky race to her side. Millie tells Pinky to drive away and fetch a doctor, while she herself helps Willie deliver the child. Pinky, fascinated or frightened she had earlier expressed fear about being pregnant herself , just stands there and stares. When the child is born, it is still. Willie cries in her bed, and Millie smacks Pinky for not getting a doctor.The next scene takes place at a restaurant where Pinky is apparently a waitress. She bizarrely refers to Millie as her mother. We find out that Edgar accidentally killed himself with his gun, but the audience suspects differently all three women had individual scenes where they shot at targets at the bar; they also all have reason to despise him . Millie and Pinky then leave the restaurant and walk back to their house, where Willie sits on a porch swing. Pinky talks to her as if they were sisters. They appear to be living together as a family. Who else could end a film like that besides Altman? I've only lately come to notice this, but his endings are always enormously original. I just lately saw his latest film, Dr. T and the Women, which many people hated because of the ending. I cringe imagining what they would do with this one. If anyone has any ideas, please contact me. I will have to watch it again. Perhaps soon they will release it on DVD where I can watch it in its true form. 10/10.
Avant-guard film about female friendships. (by sonya90028)
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 <more>
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.
Altman's Dream Film May Give You Nightmares (by evanston_dad)
Altman made a lot of films that are obscure and deserve to remain so "Quintet" , but he also made a lot of films that are obscure but deserve to be seen, and "3 Women" is one of those. It's one of the most fascinating films Altman created, and that's really saying something from a director who was able to make even his bad films fascinating.Altman claimed that "3 Women" was inspired by a dream he had while his wife was lying ill in a hospital, and the film does indeed work on its audience the way a dream does. It resists literal interpretation, and will <more>
probably frustrate any viewer who insists upon tidiness in their movies. It communicates its messages instead through pervasive imagery and tone -- it's not "about" something as much as it's about making you FEEL something, and it does that expertly. This movie will stick in your mind and haunt you long after you've seen it.If I were forced to explain the film's plot, it would go something like this: Shelley Duvall plays Millie, a rather foolish woman who works in a geriatric physical therapy center, and whose roommate has just moved out to live with her boyfriend. Sissy Spacek plays Pinkie, newly hired at the center and put under Millie's direction. Millie is a pathetic character -- she yammers on endlessly about ridiculously trivial things like how to make tuna melts and doesn't realize that everyone around her either ignores her or makes fun of her. But Pinkie nevertheless becomes enamored of her and moves in with her. The third woman of the title is Willie, a reclusive artist who owns both the apartment complex in which Millie and Pinkie live, and a saloon that resembles something from a ghost town. She paints murals of strange-looking mythological creatures engaged in violent and sexual acts. These images recur throughout the film, as do images of water. Everything up to this point in the movie is dealt with in a fairly straightforward manner. But then Pinkie has an accident, and when she wakes up, she's become a different person, causing Millie's hold on reality, already tenuous, to unravel. At this point, the film becomes reminiscent of films like "Persona" and "Mulholland Drive," in which seemingly separate female characters merge into different facets of one female personality.The ending is creepy and chilling in ways that are hard to define. The whole film has violent undertones -- the lone male character in the film is a lout and vaguely predatory; all of the women at various moments seem to be holding back a barely suppressed rage. Altman uses his camera in his characteristically expert manner to shape our perceptions about what we are seeing, and he uses other parts of his mise-en-scene, like color Millie's favorite colors are yellow and purple, and look for them in the art direction , to bring a slightly surreal quality to even the most mundane of locations.I've always thought that Shelley Duvall was an underrated actress, and she gives one of her best performances as Millie and almost looks pretty for a change . Sissy Spacek is tremendous as well, and shows a remarkable range as Pinkie. Both of these actresses do wonderful things with tough roles, and even if we sometimes feel like we're on uneven footing because of the movie's enigmatic nature, the actresses are so assured in their parts that we can rely on them to guide us through it.Altman directed a quartet of "dream" films that all revolve around the psychological and emotional crises of women: "That Cold Day in the Park" 1969 ; "Images" 1972 ; "Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean" 1982 ; and "3 Women." I've not seen "That Cold Day..", but of the other three, though all of them have qualities to recommend them, "3 Women" is easily the best.Grade: A
I've wanted to see Robert Altman's "3 Women" 1977 for long time and finally saw it last night. The references to one of my all time favorites, Ingmar Bergman's "Persona" are obvious: two young women, the main characters seemingly meek, childlike Pinky and outgoing and seemingly popular but in reality a sad loser Millie seem almost to exchange identities, or to become one in a desperate search for connection and sense of belonging but "3 Women" is memorable and haunting on its own terms. It makes you think long time after it's over. As a matter <more>
of fact, I am still thinking about it. I think that it is an incredible work of an extraordinary master. As always in his best films, Robert Altman is terrific - innovative, iconoclastic, free-spirited, unconventional, and truly original. He is a great humanist who sees through his characters but never makes fun of them and he understands them. Under his directing, Shelly Duvall and Sissy Spacec gave two astonishing performances. They were both great but Duvall was a revelation. She adapted the loquacious Millie's personality and become the character. Altman had discovered Duvall at one of the malls in Texas where she was selling cosmetics and given her roles in his six films. I want also to mention the eerie music, the dreamy and uneasy atmosphere of something sinister ready to happen, the scary and mesmerizing murals on the bottom of the pool that the third woman, silent and mysterious, tired and wise Willie Janice Rule was painting. Altman did not try to trick or confuse me, and the story seems to be simple one but I am not sure that I understood everything, especially the enigmatic ending. Altman was aware of the effect of his movie to the viewers and in his commentary he says that he sees the film as a painting and that the audience should feel it but not understand it. In this regard it also reminds of "Un chien andalou" 1929 which was supposed to be experienced directly and not analyzed by the viewers."3 Women" is another great film by one of the best American film directors. I've never seen a bad film from Robert Altman.9/10
Watch it for Spacek and Duvall, forget the rest (by bmacv)
Revisiting Robert Altman's 3 Women a quarter-century after its release is more than an exercise in nostalgia. The movie's worst faults -- its oneiric aimlessness, its pretensions toward some sort of feminist metaphysics -- seem really not to matter that much. And its best parts -- Shelly Duvall and Sissy Spacek and the interplay between them -- have stayed fresh as new paint. Has either of these actresses ever surpassed the natural, intuitive work Altman here inspired them to produce? These two-girls-sharing cook up a relationship as messy and powerful as lovers. Duvall, the clueless <more>
airhead who nonetheless gives herself airs, discovers an almost aching pathos when she finds Spacek slipping away from her. The ingrown, dependent Spacek seems to have been raised in a colony of sponges; when she starts reddening her lips and nails, and returning Duvall's haughty contempt, she's frightening and feral. Sharp as the comedy in 3 Women is, it bespeaks an almost insupportable sadness, so when Altman shifts into the minor mode and commences playing fortissimo, it's redundant, and a miscalculation. He's already shown us all there is to see. The rest is just obscurantist mood-spinning. Note to film buffs: the actor playing Spacek's elderly dad is John Cromwell also the bishop in Altman's A Wedding , the director of Dead Reckoning, Caged, and The Racket.
. . . which is a really good thing in this case.If you've seen other Altman films, you know that he uses a very spontaneous, documentary style that glances here and there, picking up little bits of dialog and character. He lets the story, whatever it is, evolve naturally and doesn't force it.In this film, things work a little differently. There is a fairly tight, classical story, sort of, even though a couple of big pieces are missing. Moreover, there is a very strong sense of symbolism in almost every shot, from Shelley Duval's first appearance, where she is pictured as a <more>
"new woman" displacing an older generation, to the scene where Sissy Spacek playfully puts a noose around her neck, foreshadowing her suicide attempt.But here's the miracle: even though there's a lot of symbolism, the style still feels very loose and spontaneous and open, just like other Altman films. How this is possible, I don't know, but it's quite an accomplishment--almost unique in cinema, I think, in the way that each frame is simultaneously closed & symbolic but also open & realistic. Really, you have to see it to believe it.Best of all, the story, which concerns three very different women, is perfectly suited to the style. This is a fable about the way women's identities are changing or not and it asks the right questions without giving clear answers.Actingwise, the real treat here is Shelley Duval as the "new woman," the Cosmo girl, plastic and fake and shallow and miserable and somehow, at the same time, horribly and hilariously alive. You will not forget her, or the double-sided, real/symbolic world she moves in.
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 <more>
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.