3 WOMEN (1977), Not Directed By David Lynch



Like any number of David Lynch films, 3 Women starts in one genre, telling one story about a certain group of characters, then at some point the acid kicks in, reality shifts, and if you went out to get popcorn or go to the bathroom, you’d be forgiven for coming back in and thinking you’d wandered into the wrong theater (or living room) given the batshit craziness that’s replaced whatever movie you'd previously been watching. In this Altman phantasmagoria, inspired, like many if not all of Lynch’s films, by a dream, Shelley Duvall plays a chirpy sanitarium worker who makes the mistake of taking in spooky, Carrie-era co-worker Sissy Spacek as a roommate, only to see her previously unexamined life unravel as she and Spacek swap personalities with each other (and maybe even a few other people, possibly including the third of the 3 Women, a mysterious desert mural artist played by Janice Rule). Things get trippier in the final twenty minutes than Quintet and Popeye combined (or, for that matter, any other Altman film I can think of), and if none of it seems to make a lick of sense, well, Altman didn’t entirely understand the ending either, though apparently he had a “theory,” possibly involving all the film's recurring twins and triplets, the red lampshade, the Cowboy, the homeless man behind the Winkie’s, the family of rabbits, the creepy, white-faced specter of Robert Blake and...wait...what was I talking about?  Oh no...it...is...happening...again...

CHOOSE ME (1984), Not Directed By Robert Altman



After a beginner's period in the early 1970s directing low-budget horror pictures with titles such as Barn of the Screaming Dead, Alan Rudolph was born again working as assistant director to Robert Altman on The Long Goodbye, California Split, and Nashville. After working on the screenplay for Altman's Buffalo Bill and the Indians, Rudolph resumed his career as a writer-director with 1977's Welcome to L.A., a movie made very much in the shadow of Altman. (The script was spun off from a "suite" of rock songs by Richard Baskin, who worked on the songs in Nashville and had a small role in that movie.) Since then, Rudolph has worked prettily steadily, sometimes writing his own material and sometimes not, often proudly displaying his Altman influence and not infrequently tripped up by it. This sex comedy, which uses Teddy Pendergrass (a big, big improvement on Richard Baskin) on the soundtrack and joins the visual lyricism of 3 Women to a fairly bouncy romantic-entanglement plot, is most likely his proudest achievement -- except for the less Altmanesque Songwriter, a beautifully directed movie which had the advantage of being written by somebody else. Both films were completed and shown in certain parts of the country in 1984, but didn't branch out distribution-wise until 1985...which means that 1985 was definitely Rudolph's year, especially considering that the Altman movie made by Altman himself that year was O. C. and Stiggs.

CRIMEWAVE (1985), Not Directed by The Coen Brothers



A pair of marginally competent criminals. A minor crime that balloons into a bloody, out-of-control mess. Cartoonish, overblown physical gags balanced by cerebral filmmaking and hilarious, quotable dialogue. Loopy, incongruous accents. Characters named Helene Trend, Arthur Coddish and Renaldo the Heel. The presence of cult and character actors like Paul Smith, Brion James, Edward Pressman, Antonio Fargas and – of course – Bruce Campbell. This has to be a Coen Brothers movie, right? Well, yes and no. Made in 1985, just after Joel and Ethan Coen wrapped Blood Simple and just before they started working on Raising Arizona, the underrated and hard-to-find Crimewave was actually directed by their good friend, frequent collaborator and college buddy Sam Raimi. The Coens wrote the screenplay, but despite the presence of some highly explosive camerawork (by Robert Primes) and the presence in the cast of a number of future Coen Brothers regulars (including Frances McDormand and Ted Raimi, Sam's brother), the direction is all Sam Raimi, who at one point seemed like an anarchic offshoot of the Coen sensibility more than the middle-of-the-road blockbuster director he later became. If nothing else, the movie stands as a unique curiosity: the only movie written by the Coen Brothers that they didn't also direct.

FAR FROM HEAVEN (2002), Not Directed by Douglas Sirk or Ranier Werner Fassbinder



Douglas Sirk was born to direct Far from Heaven. Its combination of lush, stylish visuals, soap-opera-style emotional fireworks, and ever-present societal pressure was right in his wheelhouse – it was the sort of movie he'd built his reputation upon making. Unfortunately for the movie's producers, Sirk was unavailable to make the movie, having unfortunately died fifteen years prior. The next logical step would be to hire a fellow German director who was, in many ways, Sirk's inheritor, both in terms of high drama, visual flair, and expertise at making tangible the invisible pressures exerted by society. In a further bit of bad luck, it turned out that Ranier Werner Fassbinder was also dead, having perished some twenty years before. In the end, they had to go with the guy who had written the movie in the first place: the pioneering queercore director Todd Haynes, who, even since his first student films, had seemed like an exceptionally talented amalgam of both Sirk and Fassbinder. For years, he had talked about how the two German filmmakers had influenced him, from their elegant visual styles to their focus on the taboo, but it wasn't until he did the positively retro Far from Heaven (which was dedicated to the memory of Douglas Sirk) that the influence turned into an outright homage. Setting its story of repressed homosexuality and interracial love smack dab in the middle of Sirk's 1950s, and infusing Sirk's forbidden romantic obsessions with Fassbinder's much more explicit treatments of racism and homophobia, Todd Haynes managed to create something that comes across as exactly the movie Sirk or Fassbinder would have made, were they able to escape death and the tenor of their times.

Click Here For Part One, Part Two & Part Four

Contributors: Andrew Osborne, Phil Nugent, Leonard Pierce