3 WOMEN

3 Women (1977) is a captivating and enigmatic psychological drama from the mind of Robert Altman, who both wrote and directed this thought-provoking piece. If you're expecting a conventional plot you’ll most likely be disappointed. However, if you crave a film that challenges you to think and feel deeply, this movie delivers in spades.  3 Women stands out for its experimental narrative, with a storytelling style that invites open interpretation. 

Pinky Rose (played by Sissy Spacek) is a shy, innocent teenager who moves to a small, quiet desert town in California, where she lands a job at a health spa catering to the elderly. Her training is overseen by Millie Lammoreaux (Shelley Duvall), a quirky young woman who spends much of her time poring over women’s magazines, constantly searching for the latest trends and lifestyle fads. While Millie’s efforts to craft a unique and superior identity often come off as superficial or even misguided to those around her, Pinky sees Millie as “perfect,” and is mesmerized by how sophisticated she seems to be.  Enchanted by her confidence, Pinky becomes determined to befriend her—and eventually shares more time and experiences with Millie by moving in as her roommate.

Pinky and Millie live at the Purple Sage Apartments, and they frequently hang out at Dodge City, a nearby tavern and shooting range. Both the apartment complex and the bar are owned and run by the eccentric duo, Willie and Edgar. Willie (Janice Rule), a quiet and mysterious pregnant woman, hardly ever speaks and is often found painting bizarre, unsettling murals on the pool walls of her properties—works filled with reptilian and phallic imagery. Her partner, Edgar, a washed-up former Hollywood stuntman, spends most of his days drinking away his past fame, adding to the strange atmosphere that surrounds both places.

As Pinky and Millie’s friendship begins to unravel, a series of events leaves Pinky in a coma. In the wake of this, Millie’s previously shallow existence is suddenly overtaken by a deep, protective instinct to care for Pinky. She becomes a regular visitor at the hospital, updating her indifferent coworkers on Pinky’s condition, and even embarks on a quest to track down Pinky’s parents. But things take a surprising turn when Pinky wakes from her coma—and refuses to recognize her parents, dismissing them entirely. Instead, she demands that everyone call her Mildred and adopts a completely new persona—one that mirrors the identity Millie had longed to create for herself but could never fully embody. Where Millie had struggled to present herself as truly interesting or unique, Mildred effortlessly pulls it off, leaving Millie to confront the unsettling truth that Pinky has become everything she had wished to be.

Spacek's performance is remarkable, arriving just after her breakout role in Carrie the previous year. Her transformation from Pinky to Mildred is seamless, and the scene where she mimics the Dirty Gertie device at the Dodge City bar—her deep, guttural laughter ringing through—is a standout. Yet, while Spacek impresses, it's Shelley Duvall who truly anchors the film's success. I’ll admit that I’ve never been one to heap praise on Duvall’s acting, but this film has completely shifted my perspective. Her portrayal in the scene where Millie helps Willie deliver her baby left me utterly breathless.

Gerald Busby’s inventive and jarring score sets the tone from the very first note, making it clear that something is off-kilter. The dissonant chords, paired with the unsettling sounds of the cello, oboe, and an ever-present piccolo, create a constant sense of unease. The score refuses to align with the visuals, amplifying the tension and discomfort. The surreal dream sequence and overall imagery only deepen the intrigue, pulling the viewer into a disorienting world that lingers long after the credits roll.

The central theme of 3 Women is very open to interpretation, but for me, it revolves around duality—exemplified by Pinky’s obsession with a set of twins at her workplace—and the exploration of a woman’s three life phases: the curious child, the yearning adult, and the nurturing mother.  But, are all three women real, or are some simply a part of a dual personality... and if so, which personality is real and which isn't? I can’t help but wonder if Willie, Millie, and Pinky might represent different facets of the same woman, each encountering her future or past selves. The film is undeniably a mind-fuck, but in the most rewarding way possible. I’ve found myself reflecting on it for days, eager to revisit it to unravel more of its subtle clues. It’s a captivating start to my 2025 goal of watching all of Robert Altman’s films.