Los inadaptados

This once nearly forgotten movie, the last film of Clark Gable and Marilyn Monroe is now coming forward in the lexicon of film history as an underrated gem. Universally misunderstood for the most part at the time it came out it is clear now that this film was at least five of six years ahead of it's time. It fits in more comfortably with films of the late 60's and early 70's. The screenplay by Miller is one of his most striking works. A story of a group of people lost in the wide expanse of the West in search of the discarded souls of their misspent lives. The film's beautiful cinematography by Russell Metty stands out as superb artistry at the demise of the black and white era. It shimmers with the silver of the deep expanse of the desert and the flat grays and blacks of the distant mountains upon which the last act of the story plays. The music by Alex North is among his best work and gives a savage punch to the aerial scenes and the round up at the end of the wild mustangs. Montgomery Clift, by now sliding into the last years of his life is touching in his performance of Perce. His broken cowboy with the broken heart is almost painful to watch. His phone call home to his mother is among some of his best work. Eli Wallach gives a strong deeply moving portrait of Guido who has lost his wife, his way, and his humanity. He shines in his scene with Monroe where he asks her to save him. When she can't to at least say `Hello Guido'. Thelma Ritter is, well, Thelma Ritter in yet another of her excellent character roles. Ritter is the master of the one line wisecrack but here as Isobel she laces the cracks with an underlying sadness and vulnerability.

As Gay Langland, Clark Gable gives what I consider to be the best performance of his career. It was a brave move for Gable to take on the role of what on the surface seems another one of his typical macho made to fit parts. But as the story unfolds from Arthur Miller's pen Gay reveals that beneath his gruff, not a care in the world, cowboy is a man in deep pain and despair at his losses. The world has left him behind. Abandoned by his children the drunken Gable breaks so violently it is a shock to watch the great man fall. This is Clark Gable at his finest ever.

Marilyn Monroe gives an astounding performance as Roslyn Tabler the newly divorced dancer. A damaged woman who finds in the company of these three men something to finally believe in, something to stand up and fight for, she finds life. It is a performance ground out in part from her own person and experience and in part by the director John Huston and the editor George Tomasini who helped a nearly destroyed Monroe create her stunning Roslyn. This, her last performance is her best and the true example of the collaborative creation that film really is. That Marilyn under the circumstances of her life at that time could be so good is a testament to her talent as an actress and a star. Watch her when she is listening to the other actors. This is where she shines; this is the true mark of a great screen actor. To be able to listen and draw you into the inner life of the character through that deceptively simple act of listening and reaction is her gift to the audience. Her scene with Monty in back of the bar, sitting on a pile of trash, her afore mentioned scene with Eli Wallach in the speeding car. These are but a few of the examples in this film of her great talent. In the 1950's and early 60's there were only a handful of great young actresses in film, Elizabeth Taylor, and Marilyn Monroe where at the summit of the small mountain.

I still remember when it was reported Clark Gable had had a heart attack shortly after completing The Misfits. It happened just before Election Day because there was a news item and it's mentioned in at least one Gable biography that he voted by absentee ballot in 1960. Shortly after that he died and the world was waiting the birth of his son and his last posthumous film.

No doubt about it Gable does look all of his 59 years in the Misfits. But he's still exudes that gruff animal magnetism that leaves you no doubt as to why Marilyn Monroe was finding him so sexy. It's an interesting and challenging role for Gable, his Gay Langland is a bitter multi-layered character, whose family has deserted him and his way of life is vanishing. All three of the men, Gable, Monty Clift, and Eli Wallach have a deathly fear of working for wages expressed often during The Misfits.

For Monty Clift it's more than fear. He's also bitter about being cheated out of his father's ranch by a stepfather who offers him wages. So he's taken to the rodeo circuit, but he's also past his prime in that dangerous sport.

Eli Wallach starts out as what we think is a deep sensitive portrayal, but as we go along we find there's less than meets the eye. He wants Marilyn Monroe real bad (who wouldn't) and it's clear he's just using some of his best lines in his quest for her.

Marilyn as eastern divorcée to be serves as the group's conscience when they start going after mustangs for dog food manufacturers. Quite illegally of course, but that's part of the challenge for this group. Lots of shots of Marilyn's bulges both front and rear are another good reason to see this film.

Towards the end the wild mustangs on the Nevada desert take over the film from the human actors. They are a kind of doppleganger for this group, they are also misfits with no place in the modern world for them except as canned dog food.

Those roping stunts and Clark Gable being dragged by a horse probably put a strain on his cardiovascular system. It's been written that Marilyn was the cause of his demise. Pure and utter nonsense. I can't believe John Huston the director let him do those scenes. Why wasn't a stunt double used? Marilyn Monroe was one royal pain to work with, what with all of her issues, but that surely had nothing to do with what happened to Gable.

The Misfits still holds up well after over 40 years. All of the cast can be proud of their work in that film.

On August 5th 1962, Marilyn Monroe was found dead in bed. She died of an overdose, which is often viewed as suspicious. That was 50 years ago, and her complexity as a woman, and her image endures without any abate. It is the fact that she was such a complex and damaged person that her screen icon status still adorns the walls of many people, and her perplexed beauty still has the power to beguile en-masse. The Misfits was her last completed film, - she never completed the filming of George Cukor's remake of My Favourite Wife (1940), Something's Got to Give, which has been subsequently released as a short - and I feel that it captures much of what made Norma Jean Mortensen, Marilyn Monroe.

She plays Roslyn, a newly divorced woman, who meets up with a couple of older men, Guido (Eli Wallach) and Gay (Clark Gable - this was also his last film), and escapes with them to a country house. The men are besotted with this naive, sexy blonde who seem's to have a certain verve for life. They meet with Montgomery Clift's rodeo rider, Perce, as they venture out to the desert first for rodeo, then to catch some Mustang's (horses, not the car). When Roslyn discovers that the men plan to sell the horses for dog meat, her attitude towards the men, and their dying practises changes.

Set in Nevada, the film engenders the idea that the cowboy, the working man, is something of the past. Modernity is taking over the landscapes of America, and this ethereal blonde figure enters the three men's lives to emasculate them from the barbaric ways of the past. But she is not there only for the purpose of altering the outlook of these gruff men, or to push modernity into the plains. Like the real Marilyn, Roslyn craves the attention of men, - Norma Jean never knew who her real father was, and her mother was less than interested in her - and especially is needy for a father figure; a man she can fully trust and rely on.

This collusion of Marilyn's real-life and the character in The Misfits is no accident of course. The screenplay was written specifically for her by her then husband, playwright Arthur Miller, and he clearly knew her need for that elusive father figure, and her need to soak up attention, and wear her body (and image) as a mask to her internal pain, and tragic sense of abandonment.

Whilst certainly not her best film (director John Huston had stated that she was difficult, and the decision to shoot in black and white was due to her bloodshot eyes - caused by alcohol and prescription drugs), that surely would go to Some Like it Hot (1959), but this is absolutely her greatest, and most revealing role. The Misfits also tells of the damaging effects of modernisation, and the nostalgia of the past.

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I've always wanted to see this movie because of the legendary actors associated with it and yesterday I finally rented it. I can't say it is an entertaining movie, but it is certainly profound and stays with you.

Clark Gable, Marilyn Monroe and Montgomery Clift were all wonderful. There is something extra poignant about the casting of these three actors. It is like "misfits" playing misfits. Knowing that it is Clark Gable's and Marilyn Monroe's last film added to the aura of finality at the end. Marilyn Monroe definitely does not get the credit she deserves as the fine actress she was. Even her character is trying to get beyond the external first impression she makes on men.

It is the first film I've seen of Montgomery Clift's. What a fine actor! He brought enormous depth to his character--much of which was portrayed without speaking.

Once again, if you're looking for an entertaining film, you may be disappointed. If you're looking for an interesting blend of characters who, in many ways, are mirrors of the actors playing them, then rent the Misfits. It is packed with stars but not with glitzy star quality, just no-holds-barred, uninhibited acting.

THE MISFITS is a delicate gem of a film, poetic and harsh and as cold as those western stars on the horizon that Gable and Monroe drive toward at film's end. The title refers to the wild mustangs they hunt, but it also describes the 4 main characters, each lost in a world they hardly recognize. At one point Monroe points to a mountain vista and says "it's like a dream." Each of the characters is wounded and lost in some way. Marilyn Monroe plays a divorcée trying to figure out what to do next. Clark Gable plays a cowboy in a vanishing west. Montgomery Clift plays a rancher cheated out of his legacy when his mother remarries. Eli Wallach plays a guy whose life has come to a standstill after the death of his wife. The characters circle each other, trying to make connections, but their timing is always off. Gable and Monroe seem to find something until they go on the mustang hunt.

Gable is magnificent as the aging cowboy who fears "working for wages" as the final sign of giving in to the commonplace and losing the old west. But the old west is, of course, already lost. Most of the action takes place in and around Reno, the perfect symbol for what the west has become. His drunk scene (after he has seen his kids) is astonishing in its pain and ugliness. It's a great performance.

Monroe is stunning and gives a quiet and simple performance that shows what she could have done (had she lived). Leaving her "dumb blonde" persona in the dust, what we get here is Monroe the actress, and she's just plain terrific. Aside from the scene (done in a long shot) where she rages at the men after they have captured the horses, Monroe plays this character very quietly and with lots of small reactions (watch her eyes). It's a great performance.

Clift and Wallach do wonders with their characters and provide a lot of the tension since all three men pursue Monroe. Thelma Ritter is solid as Isabelle. Estelle Winwood has an odd role as the old lady collecting money. James Barton and Kevin McCarthy have small roles.

I think THE MISFITS is a must see for any serious film buff. The film collapsed under the weight of its publicity in 1961 and there was a huge backlash when Gable died within 2 weeks of finishing the film. Yet the film is gorgeous, a shimmering Arthur Miller poem to the worlds and people we've lost.