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. Mille is a... See full summary »
We consulted IMDb's Highest-Rated Action-Family Films to came up with 10 scene-stealing action figures your kids can relate to, look up to, and be inspired by.
Schizophrenic housewife, engulfed by terrorizing apparitions, kills off each, unknowing if these demons are merely figments of her hallucinatory imagination or part of reality.
Director:
Robert Altman
Stars:
Susannah York,
Rene Auberjonois,
Marcel Bozzuffi
Two convicts break out of Mississippi State Penitentiary in 1936 to join a third on a long spree of bank robbing, their special talent and claim to fame. The youngest of the three falls in ... See full summary »
Director:
Robert Altman
Stars:
Keith Carradine,
Shelley Duvall,
John Schuck
A gambler and a prostitute become business partners in a remote Old West mining town, and their enterprise thrives until a large corporation arrives on the scene.
A down on his luck gambler links up with free spirit Elliot Gould at first to have some fun on, but then gets into debt when Gould takes an unscheduled trip to Tijuana. As a final act of ... See full summary »
An introverted loner living in the bowels of the Astrodome plots to develop - with the aid of a mysterious guardian angel - a pair of wings that will help him fly.
The daughter of a Louisville truck driver marries the scion of a very wealthy family, but reception at the family estate is boycotted by the invited guests.
A fictionalized former President Richard M. Nixon offers a solitary, stream-of-consciousness reflection on his life and political career - and the "true" reasons for the Watergate scandal and his resignation.
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. Mille 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 woman 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
According to Wikipedia, "For years, the film was not available in home video in any form. This was alleged to be due to music rights; reportedly, the distributors of Altman's films Images (1972), California Split (1974), 3 Women (1977), and HealtH (1980), had not negotiated music rights for home video release of the films, and, due to their relative obscurity, they were never expected to be released". See more »
Goofs
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 »
Quotes
Millie Lammoreaux:
All right, Pinky. How come you stole my car? Pinky?
Pinky Rose:
I didn't steal your car. I borrowed it.
Millie Lammoreaux:
You did not. You didn't even ask.
Pinky Rose:
Couldn't find you.
Millie Lammoreaux:
You didn't try very hard.
Pinky Rose:
I tried hard.
Millie Lammoreaux:
You did not. You could've at least told Doris or Alcira of somebody. Who took you there to go in and get my keys?
Pinky Rose:
Tom.
Millie Lammoreaux:
Pinky, I had to call the police and everything. They're sittin' in there right not waitin' on me. They think somebody stole my car.
Pinky Rose:
They're sittin' in there, huh? Well, aren't you the lucky one?
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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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 ****