A rich but lonely woman, Frances Austen, one day invites a homeless young man from a nearby park to her apartment and offers to let him live there. However, she has no intention of ever letting him leave again.
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 owned by a strange pregnant artist and her has-been cowboy husband. After two emotional crises, the three women steal and trade personalities until they settle into a new family unit that seems to give each woman what she was searching for.Written by
danetta cox cordova
When Millie and Pinkie prepare for dinner party, the time line is way out of whack. Scene begins in early morning, as Millie wakes Pinkie and tells her she is going grocery shopping for the dinner. Millie returns from store (presumably within an hour or so), Pinkie carries out garbage after spilling shrimp cocktail on herself and, en route to trash cans, meets dinner guests who say they can't come because they're on way to a beer joint instead - a scene that would have occurred no later than mid-morning and means that seven or more hours are unaccounted for. See more »
Playing would-be social butterfly Millie in Robert Altman's often-inscrutable "3 Women", Shelley Duvall creates an amazing, amusing, totally original character. Millie fancies herself a great caregiver at a job where others regard her as nothing; she talks about her neighbors and activities as if she's Sally Bowles, when actually nobody notices her. She's pathetic, but Duvall makes her funny and quirky (and Altman is careful not to make too much fun of her). Sissy Spacek as roommate Pinky is also fine in a less-showy, less-complex role, but her transformation in the second-half shows off her range. The film is slow but not dull, confusing but not off-putting (despite fuzzy cinematography). The one thing I really objected to was the ending, which plays like Greek tragedy mixed with Tennessee Williams. Nobody has dared to make another film like "3 Women". Altman-protégé Alan Rudolph captured some of its eccentric quality in "Welcome to L.A.", but his script wasn't clever enough. The writing here may seem simple, but this turns out to be deceptive: the dialogue is pungent with the ring of absurd truth. It took me a while to reconcile my feelings for this film. As soon as I decided how I felt about it, I couldn't wait to see it again. *** from ****
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