Am I Missing Something?

A very feeble attempt at affirmatie action

A clunky actioner with a handful of cool moments.

Great movie. Not sure what people expected but I found it highly entertaining.

The Same motif i sense every time i watch this movie is IDENDITY, like most films i enjoy watching from It's so boring hearing the same conun drum of intelligent wording of themes, story, production details, costumes, lighting, etc, etc. From film viewers, going out of control to sound intelligent when all i hear 99% of the time is carbon copy of reviews from critics, blah, blah, blah. I'm happy with hearing did you like it, YES or NO, i'd like to talk more but i'd rather watch something i enjoy then talk about something i enjoy and be in agreement why i liked it and why another person liked it. To assure i'm making a good choice or sounding intelligent or artistic, etc, etc..There are 2 different crowds in the film arena, those who watch and view films they have and have not seen from the time period 1900- 2017 these days and the mass majority who watches a ton of TV shows and lots of films from 2000-2017, very few people delve into the past or are beyond curious about films outside the country they reside or films outside heavily influenced, western world countries.Altman is not for everyone, from what i gathered with talking with both sides of film viewer's, most people think MASH is Altman's Greatest FIlm, in my opinion, MASH is my least favorite Altman Film, i like all his films but 3 Women & Images i'm drawn to especially.

If Roger Ebert who rated this the best film of 1977 and the writer, producer and director, Robert Altman are shaken on what exactly this film is about, I guess I am allowed to be rather hazy on some aspects myself. I was certainly rather lost, bewildered and not at all happy during the opening fifteen minutes or so of care home/spar footage with old folks being walked about but then the almost automaton like behaviour of Shelley Duvall and the charm of Sissy Spacek won me over. Both performances grow in stature as the film progresses and indeed it would seem that if a large chunk of this enterprise began in Altman's dreams whilst his wife was in hospital, much also grew from Duvall's improvisation. It is a wonderful and increasingly endearing turn and when the talk turns to the behaviour of twins and personalities begin to shimmer, shake and more, this one of a kind dreamlike experience becomes indeed a wonder to behold.

Millie Lammoreaux (Shelley Duvall) works at a spa for elderly folks. Pinky Rose (Sissy Spacek) is a new employee that Millie is assigned to show the ropes. Pinky is childlike and naive and almost instantly becomes completely enamored with MIllie. She moves in with her and slowly starts to become her. Millie is extremely talkative and organizes her life around what she reads in women's magazines. She talks to everyone constantly, but most of them are never listening, and those that do openly ridicule her. Altman is clearly very inspired by "Persona", so much so that, like that film, the action here is halted by a violent action and the entire film is restructured from that point on. The third titular woman is Willie Hart (Janice Rule), the pregnant wife of the man who owns the building they live in. She is an artist who paints murals in various places including the pool at the apartment complex. She almost never speaks, but is obviously aware that her husband is a drunken philanderer. There's another climactic scene that splits the film and rearranges the three into a unit that seems to complete these three fragmented personalities. Altman said this film came to him in a dream and it certainly feels like a dream. It has an internal logic that works on its own terms, and I personally think it's one of his better films. Duvall and Spacek have never been better.

Pinky Rose (Sissy Spacek) is an introverted young woman starting work at a health spa in California. She is so shy that on her first day at work, she doesn't even challenge her co-worker Millie Lammoreaux (Shelley Duvall) who mistakes her for a client. Millie needs a roommate and Pinky quickly snaps it up. However Pinky's quiet loner nature turns Millie against her. After Millie berates Pinky, Pinky takes a suicidal dive into the pool leaving her in a coma. When she wakes up, there's a change in Pinky and Millie finds strange occurrences perpetrated by Pinky.The first half is fine with Spacek and Duvall playing to their comfort zones. I kept wondering where this movie is going with this. Then it takes a hard turn into Single White Female situation. That is a great turn but it doesn't continue as I expected. It goes into a surreal sojourn in some kind of poetic journey. It's definitely a surprise but I'm not convinced that it's a good surprise. I think a more simpler road with the two girls would be more compelling especially considering the third woman is only a minor character. Maybe there's a point in the surreal poetry that I missed.