The Misfits is an interesting motion picture for a number of reasons, the least of which being what occurs on screen. It is a fascinating piece of movie history in that its stars and its director were caught in almost a constant state of turmoil, drunkenness and drug abuse during its filming. That it was made at all should probably be considered a Hollywood miracle.
The Misfits was directed by John Huston, who spent most of filming either gambling or drinking. Word was that he even fell asleep on the set on occasion and that the production company had to cover some of his gambling losses. Such is the trouble with filming in Reno, I suppose. Star Marilyn Monroe was well on her way down, what with her relationship to writer Arthur Miller unravelling and her descent into drugs and alcohol becoming more drastic by the day.
Monroe stars as Roslyn Taber and she’s a divorcee. She’s bunked in with Isabelle Steers (Thelma Ritter), who’s giving her some life advice and acting like a mothering figure. Isabelle and Roslyn come into contact with Guido (Eli Wallach), a tow-truck driver and pilot who wants to show Roslyn the country and a good time. This leads to introductions with Guido’s friend and business partner, the cowboy Gay Langland (Clark Gable).
The film meanders around various misadventures and misunderstandings before it acquires another member to this misfit party in rodeo rider and drifter Perce Howland (Montgomery Clift). This forms somewhat or a romantic square, I suppose, and Roslyn finds herself in the middle of various quandaries before the movie settles on the issue of mustang hunting as the big issue of the day.
The Misfits isn’t a particularly good movie, but as I mentioned before it is a very interesting one. It gains ground in its last third thanks in large part to the mustang hunting sequences. Gable insisted upon doing all of his own stunts, which included being dragged 400 feet across a lakebed. As many know, he suffered a heart attack two days after filming ended on The Misfits and died 10 days later.
Monroe is the real story here, however. Shooting was troublesome for her and for those who had to rely on her, as she often didn’t show up to the set. Huston shut production down in 1960 to send Monroe to a hospital for detox and used soft focus on her close-ups. Amazingly enough, her performance is rather solid and tinged with pieces of sadness that were no doubt about her struggles off-screen.
The Misfits is worth seeing for no other reason than it marks a bit of Hollywood history. It is the last film for both Gable and Monroe, two bona-fide Hollywood legends. Structurally, however, the picture is a bit of a mess. It meanders a lot and can be difficult to get a read on, especially given how Huston covers the romantic angles. Some scenes feel rushed, as though relationships blossom suddenly and without reason.
In the end, The Misfits is a motion picture that certainly lives up to its title. It is a strange movie, filled with heartbreakingly real performances. Watching it can, at times, feel like watching people drowning in their own existences. Knowing Gable and Monroe’s fates, some of the scenes take on an unintentionally bittersweet quality that gives the movie weight that it otherwise may not have had.
6.1/10
Trailer:
