Herb Kane
Screenwriter
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3 Women
The Criterion Collection
Studio: Criterion
Year: 1977
Rated: PG
Film Length: 124 Minutes
Aspect Ratio: 2.35:1 Enhanced Widescreen
Audio: DD Mono
Color/B&W: Color
Languages: English
Subtitles: English
MSRP: $39.95
Package: Keep Case
The Feature:
3 Women is just one of a number of feature films on record as having taken form in a dream. The dreamer was Robert Altman. Responsible for such films as M*A*S*H, McCabe & Mrs. Miller, Nashville and Gosford Park including a number of other unique motion pictures, the film was actually inspired by a dream the director had. It is a rather unique and sometimes bizarre look at three women which has many similarities to the Bergman film (at least pertaining to switched personalities) a la Persona. 3 Women stars Shelley Duvall, Sissy Spacek and the late Janice Rule.
Although Robert Altman was nominated for the Golden Palm Award at the 1977 Cannes Film Festival he was not successful, however, Shelley Duvall did win the Best Actress award for her performance. The film is another 20th Century Fox title that has been licensed to Criterion and similar to the recent release of Pickup On South Street, we can expect several other Criterion releases of Fox titles to surface later in the year.
Millie Lammoreaux (played by Shelley Duvall), the most unorthodox of Altman characters, sets the tone with her eerie portrayal of a young Texan scarlet whose nonstop prattle turns life into a trance even as most of the people in her vicinity assiduously ignore her. This girl (as my grandfather would say), “could talk all four legs off an elephant”. She goes on and on, never really having anything of interest to say and those who come face to face with her by chance encounters don’t make eye contact for fear of being lassoed into a conversation of nothing. Through delusions of grandeur, all Millie seems to want to talk about is how exciting her life is, in a fantasy world full of socialites, dinner parties, and gentleman callers. None of which truly exist. Millie is a likeable but socially inept misfit. Whenever she invites anyone over for dinner or drinks, they cancel. Even the way she always slams the car door of her Ford Pinto (which by the way is "French mustard, not American mustard” in color), on the hem of her skirt says so much about her character.
While Millie is required to train a young nursing home assistant where she works, she quickly finds herself idolized by the young childlike trainee. Her personality is worshiped, and then emulated by a strange, certifiably dysfunctional woman named Pinky Rose (played by Sissy Spacek). Eventually, a friendship forms and Millie invites Pinky to move in with her to share the apartment.
The third woman, Willie (played by the late Janice Rule), is a pregnant artist who paints archetypal mythical figure murals on the floors and walls of swimming pools who doesn’t say a word throughout the film (although she offers up some great facial expressions). Willie's husband, Edgar (played by Robert Fortier), a strutting cowboy type who once had a bit part on TV's Wyatt Earp, is just about the only male character of consequence in the film and brings with him a somewhat celebrity status to his placement at the apartment complex where they all reside. The weirdness commences when Millie invites Edgar up for an adulterous fling, causing a dejected Pinky to jump into the motel's swimming pool from a second storey balcony, which leaves her comatose after the accident. After Pinky regains consciousness, we see her eventually take over the character of the woman she idolizes and becomes the dominant of the two. In fact, even her physical appearance begins to transform.
While the film is basically devoid of any traditional narrative devices or major plot setting, it is indeed a wonderful character study focusing on three women who are the epitome of pathetic. The film plunges you into a world of mesmerizing dreamlike symbolisms different from anything you may have seen before. Probably due to the score, the film even has a sinister, almost provocative feel to it. It’s one of those films that’s sure to stay with you long after you initially view it.
It’s also interesting to note that the cinematographer who worked on this film, Charles Rosher Jr. is the son of Chuck Rosher Sr. who shot F.W. Murnau's Sunrise as well as dozens of other popular titles from the 1920’s through to the 1950’s. Also, the actor playing Spacek's elderly dad is John Cromwell (father of James), who was the director responsible for several of the great Film Noir titles such as Dead Reckoning, Caged, The Scavengers, and The Racket.
Video:
Absolutely gorgeous! I’ve said many times, that film from the 70’s seems to be the most difficult in terms of inconsistencies. Criterion has done a great job with 3 Women.
Filmed mostly in Palm Springs and Desert Hot Springs, California (in the middle of the desert), many of these outdoor shots look breathtaking. There is a definite sense of dimensionality to a number of these shots which look very film-like.
Colors are vibrant and nicely saturated and skin tones always looked natural and real. Blacks were as dark as imaginable and contrasted nicely were whites, always looking stark and clean. Many of scenes had a somewhat yellowish tint to them, no doubt extending the symbolism (a preference of Millie’s) by the director. Some of the indoor shots are on the dark side, but undoubtedly has nothing to do with the transfer process.
The majority of the film had a slightly soft look to it with many instances of a very sharp and defined image. There was only a hint of very fine film grain which was appropriate. The print looked absolutely spotless of any debris, dust or dirt and not a scratch could be found. There were no instances of light shimmer and the image always looked stable. There was no indication of any compression errors or artifacting.
I don’t know what, if any, work was done with the included trailers, but if the original elements are similar to what was presented with the trailers is any indication of what restoration work was done, the difference is revelatory. Such restoration work might account for the higher price point of the MSRP.
A most impressive job…!
Audio:
The soundtrack is the original DD Monaural track which does an admirable job of getting done what needs to be done.
The track sounded clean and virtually free of any noise or popping – a very slight hiss was noticeable at times but was never bothersome. Everything sounded very natural. No problem here.
The movie is basically dialogue driven and that’s what stuck out during this film. The dialogue was not only clear and always intelligible but was downright bold and forthcoming. There are a number of scenes which take place at a firing range, and the results were rather mediocre as the track is rather thin and limited in terms of dynamics.
I’m sure I’ll be the dissenting voice of opinion, I really didn’t care for the score that was chosen to accompany this film. Not only did I find it incapable of eliciting the appropriate mood of the film, at times I found it to be harsh sounding – to be clear, the chosen music, not the presentation. I would have much preferred something more somber or serene. Oh well… The flute score that was used is delivered capably.
All in all, a very nice job.
Special Features:
There are a few special features included on this disc starting with:
[*] A Commentary which features Robert Altman. This is a solid piece which starts by documenting how the dream concept was incorporated into a film. Mr. Altman describes the film as an “organic film” and spends a great deal of time discussing the thematic and artistic values of this film (and other films) all the while describing how his films differ from those of other filmmakers mostly by way of a visual medium rather than literature. This is a very good commentary that will appeal to those who appreciate discussion on the style of movies rather than the usual emphasis of how movies are made.
[*] Stills Gallery. There are literally dozens of still photographs included, many of which have been supplied by Robert Altman himself, including the one used for the DVD cover art.
[*] The first trailer is a Theatrical Teaser Trailer. Duration: 1:28 minutes
[*] The next is a Theatrical Trailer which clocks in at a very loooong 3:14 minutes.
[*] TV Spot 1 These are TV trailers which show several brief clips of the film. Duration: 32 seconds.
[*] TV Spot 2 which is a slightly different trailer which focuses on the three women. Duration: 32 seconds. Both TV trailers are in decent shape.
[*] Finally there is a 3 page Insert, an essay written by David Sterritt who is a film critic and professor of film at Long Island University who offers some of his own thoughts on the film.
Final Thoughts:
What this film lacks in plot is made up for in spades with a character study that encapsulates the three women in this film. I’m sure there might be some that exist, but I can’t think of a single film that defines pathos and how it relates to the women more than this film. While the movie has many humorous moments, the mood of the film quickly changes to a somewhat somber feeling and one that Carl Jung would have had a field day with had he been alive to see it.
Criterion has done a wonderful job with this disc, offering up a few worthwhile special features and a presentation that’s sure to leave fans of this film extremely pleased. This film might not necessarily appeal to the masses, but I give the disc a solid recommendation for fans who are familiar with it.
Release Date: April 20th, 2004
