Drei Frauen

  • Deutschland Drei Frauen (mehr)


Millie arbeitet in einem Kurzentrum für Senioren in der kalifornischen Wüste. Die neue Pflegerin Pinky, ein Mädchen vom Lande, wird ihre Zimmergenossin und beginnt, Millie zu bewundern. Dritte im Bunde ist die Malerin Willie, schwangere Frau des ehemaligen Stuntmans Edgar, der sie mit Millie betrügt. Als Pinky von der Affäre erfährt, unternimmt sie aus Eifersucht einen Selbstmordversuch. Wenig später hat Willie eine Todgeburt. Die drei Frauen kommen zur Erkenntnis, daß sie von der Männerwelt nur ausgenützt werden, und beschließen, sich an sich selbst zu orientieren, wodurch jedoch neue Abhängigkeitsverhältnisse entstehen. (Koch Media)


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Englisch It is said that the first five minutes decide your relationship with a movie. In that case, I would have to give it a very low rating, because for about the first half an hour, the film bored me and I couldn't get into its rhythm and mood. However, gradually the story started to captivate me more and more, and in the last hour, I enjoyed every scene regardless of Altman's traditionally slow pace and sparing use of editing. Altman is deceiving with the title because although three women do appear in his film, the (co)owner of the guesthouse is explicitly missing. The majority of the spotlight belongs to Shelley Duvall and Sissy Spacek. The majority of cinema-goers fixate on Sissy Spacek as the ugly duckling with a good heart, and Shelley Duvall, well, she's the ugly one from The Shining with oddly bulging fish-like eyes. But here, film fans would be astonished because both girls are actually femme fatales. True, never at the same time, because the film relies heavily on the strange interaction and interweaving of their characters. One takes the lead for a while, and then the other. Shelley, alias Millie, is a girl who can be described as clingy. She tries to attract attention, gain admiration, and make friends at any cost. Sissy, alias Pinky, desperately seeks a role model, someone she could enter into life with. By chance, they collide and a game begins to see who gradually gains the upper hand. Altman is actually deceiving with the style or genre because his traditional collage of visuals and stories is gone. This is a pure psychological drama with a touch of surrealism as if it came out of Polanski's workshop. I truly enjoyed the peculiar mood and provocative female game, and 3 Women will receive my overall impression of 75%. ()


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Englisch Watching 3 Women may evoke in viewers memories of Bergman’s Persona and Lynch’s Mulholland Drive. These three films share the motives of intertwining identities, irrational narratives and a distinctive setting whose aesthetic attributes fundamentally complete the dreamlike atmosphere. Though we can assume that the individual films, or rather their creators, are connected by a thread of direct inspiration, all of them remain distinct and unique, and even deal with completely different subject matter. Like the other two, Altman’s film, whose subject came to him in his sleep, can be perceived and interpreted in different ways, but at its core it offers a deconstruction of the position and roles of women in (not only) American society. Each of the titular three women shows a different side of gender roles as a construct of artificially formulated roles that are passed on and the process of merging with them as a kind of disappearance, or at least denial, of one’s own personality and identity. This is brilliantly embodied by the phenomenal Sissy Spacek, who undergoes several transformations of her personality over the course of the narrative, from a wide-eyed, childishly uninhibited girl to a coolly calculating and dissembling vamp. Conversely, Shelley Duvall superbly portrays a woman who follows the absurd ideal of the chattering homebody that was foisted on American women, especially in the 1950s, to the point that there is seemingly nothing left of her own self, even though she is an active character and multi-dimensional personality. Unlike Bergman and Lynch, who from the beginning establish references that lead viewers to perceive their respective films in a different way than as a standard narrative, Altman keeps his film seeming very ordinary for a long time. Only certain details of the characters’ behavior come across as overly naïve or affected, but no special attention is focused on them. The transition to the disturbingly unhinged narrative is thus even more effective when the film seemingly suddenly shifts into a bizarre relationship triangle in which the personalities of two of the central characters radically change. However, the foundations for this are evident from the beginning in the way that the film transforms the usual optics of mainstream cinema, when, instead of the usual objects, it places women in the roles of the central mysteries, forcing the viewers to figure out their personalities and motives. Conversely, the men and their bodies are fragmented and relegated to the second plan, which also highlights the absurdity of the fact that they determine the conditions of everything. The climax is even more radical and otherworldly, as the women are conversely liberated from the men and the roles that have been assigned to them by the patriarchal society and instead live in the harmony of a matriarchy. ___ PS: 3 Women exhibits a full range of parallels with Patricia Resnick’s later screenplay for 9 to 5, in which again a trio of women, portrayed by other superb actresses, oscillate around one man and more literally reassess their social roles and relationships. () (weniger) (mehr)


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