The Misfits Review
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I don’t know why, but I never even really considered watching `The Misfits’. Even when I was watching a lot of Marilyn Monroe films, I never really thought about watching this one. A friend told me that it was coming on TCM and that she was going to be watching it, and so we decided to get together and see it together. While I cannot say that the overall experience was what I hoped for, I must tell you that there are parts of this film that work marvelously. Overall I was entertained and even delighted (especially during the films finale) but there are huge chunks of this film that don’t work as well as they intended to.
The film tells of a lonely cowboy and a young divorcee who fall in love over mutual sadness and a longing for belonging.
Okay, so lets start with the good. The acting across the board is very well done. Both leads handle their performances with a strength that is surprising (beings that neither are brilliant actors) as well as very welcomed. This is not the best performance by either star (look at Monroe in `Some Like It Hot’ or Gable in `It Happened One Night’ for that) but it is definitely at the top of their heap. Monroe’s early scenes convey a breathy sense of maturity that she often forgot to lend her vixens, and Gable has so much natural girth that you just can’t help but see him as a real man, no actorly symptoms in sight. The deaths of both actors (which came very shortly after this film was released) is a sad yet poignant facet of the film. When one watches the film with the knowledge of the eventual demise of the stars we can see a layer of profound realism in the character’s desperate plea for some sort of purpose.
It makes so much sense.
As good as the leads were, the supporting cast is even better. Eli Wallach delivers one of my favorite supporting performances of all time as Guido, the lovelorn pilot who fails to impress Roslyn as much as he hoped to. His dire need for a woman’s touch is so stunningly conveyed that he takes the cake as the most impressive performer in the cast (it’s no wonder Monroe wanted his scenes shorted so that he wouldn’t steal her limelight). Thelma Ritter is also stunningly capable of carrying her scenes, with a spunk and cheery light that emanates and illuminates. Montgomery Clift really excels in the films final scenes, where his moral dilemmas are made prominent. It’s a beautifully complete performance.
But, where there is good there is also some bad. My biggest issue with `The Misfits’ is that there is a huge chunk of film in the middle of the movie that just doesn’t fit right. The beginning is spot on and really engaging, and the ending is nothing short of stunning (that final conversation between Monroe and Wallach is just brilliant) but the middle, that budding romance, is just awkward and unnecessary. It just doesn’t hold up and I found my interest fading. John Huston is a very capable director (see `Fat City’ RIGHT NOW) but he loses his reigns on this one a bit and delivers a less than perfect final product. The thing is, this could have been remarkable on all fronts, but it just isn’t.
See it, for it is the final film projects for two very beloved motion picture icons, but don’t expect it to be all that it could have been.
The Misfits Overview
Expertly directed by John Huston (The Maltese Falcon) from a screenplay by Pulitzer Prize winner Arthur Miller, The Misfits is a probing, exciting drama (The Film Daily) of honesty, intensity and sheer poetic brilliance. Divorced and disillusioned, Roslyn Tabor (Marilyn Monroe) befriends a group of misfits, including an aging cowboy (Clark Gable), a heartbroken mechanic (Eli Wallach) and a worn-out rodeo rider (Montgomery Clift). Through their live-for-the-moment lifestyle, Roslyn experiences her first taste of freedom, exhilaration and passion. But when her innocent idealism clashes with their hard-edged practicality, Roslyn must risk losing their friendship…and the only true love she’s ever known.
The Misfits Specifications
It was the last roundup for Clark Gable and Marilyn Monroe, who gave their final performances in this melancholy modern Western. Arthur Miller wrote the script (some say overwrote) as a contemplation of his then-wife, Monroe, and set the piece in the half-world of Reno, Nevada. The dangers of this kind of meta-fictional approach are not entirely avoided, but the clean, clear-eyed direction of John Huston keeps the film grounded. And then there are the people: Gable a warrior past his time, Monroe overwhelmed by the world and its attentions, Montgomery Clift visibly broken in pieces, Eli Wallach a postwar neurotic. If the encroaching mortality of Gable, Monroe, and Clift weren’t enough, the stark photography and Alex North’s score confirm this as a film about loss. It may have its problems, but seen at a distance of many years, The Misfits scatters its tender mercies with an aching beauty. –Robert Horton
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