The Misfits

Marilyn Monroe's breathy voice and little girl sweetness have a depth and reason in this film that most of her other roles lacked.

The Misfits, written by Monroe's ex-husband Arthur Miller, is as harsh and dark as his relationship with the actress apparently was. While over-written and plodding, the dialog has an earthy reality that seeps out from time to time, aided in no small way by John Huston's excellent direction and stunning cinematography.

Marilyn's equally iconic co-stars –– Clark Gable, Montgomery Clift, Eli Wallach, Thelma Ritter –– realize their parts with finesse and feeling. But Monroe stands out in this modern day, psychological western – not for her beauty or glamor –– but for a contemplative strength and tragic emotion the actress seldom revealed on screen.

She seemed to be emerging from her sex-pot shell in her impersonation of a drifting divorcée drawn to a trio of struggling, yet oddly aimless, Nevada ranch hands. Her expressions and mannerisms are natural, at times weighted with a sadness, a tiredness that may not have been acting at all. Whether intentional or not, these facial shots of grief and pain are exquisitely disturbing, as much for their fleshing out Marilyn's personal travail at the time the movie was made as for the mixed-up character she was playing.

Her sensitivity to the plight of the wild horses the ranchers are capturing and killing for illegal profit, is brilliantly well-paced, her anguished dialog in defense of their freedom evocative of larger social issues coming to the fore in the 1960s. The poignant scenes of her outrage at the men's treatment of the horses are in fact seething in their intensity, giving the viewer a tantalizing glimpse of the caliber of talent Marilyn held in reserve, and would likely have expressed to greater acclaim had she lived longer. As it turned out, The Misfits, with all its pathos and desolation, underscored by sweeping desert backdrops, was Monroe's last film. Perhaps unavoidably, it's regarded by many as a metaphor for Marilyn's own professional and private turmoil.

And it may be. But it's also a splendid tribute to the range of her abilities. More than any other movie in which she appeared, the hauntingly heroic, if flawed, tale of The Misfits is the finest, most compellingly honest work Marilyn Monroe ever achieved.

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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"The Misfits" is literally about four people who don't fit into society… A divorcée (Monroe) meets cowboy Langland (Gable), who is getting too old for his job… They decide to live together… A former rodeo star (Clift) and an unemployed mechanic (Wallach) join in the drifting…

Huston's masculine images are stripped of their former glory, existing only one rough exterior which fails to conceal what has been lost… Eventually the men agree to round up wild mustangs for a dog food manufacturer…

Scenes of the trio and Monroe speeding across the prairie in a beaten-up truck, raising a hurricane of dust while attempting to rope the stallions, are the strongest evocations of lost souls wandering in time…

Huston's film established Marilyn Monroe as a dramatic sensuous actress, thus liberating her from a decade of steamy cheesecake roles in sexy comedies

The first hour and a half of this two-hour film is mighty slow going. It's mostly exposition, back-story, some of which could have been edited out. The plot rambles and meanders. There is a lot of glib talk, a lot of filler. The cameraman seems to be asleep. The characters themselves are dispirited, drifting emotionally, buffeted by the storms of life. They whine a lot. Booze helps them cope. The film score is sad, sentimental, and sounds like it was borrowed from a Douglas Sirk melodrama.

Then, as the film enters its final thirty minutes, things change. The pace quickens. The dialogue subsides somewhat. The cameraman wakes up. Drama and tension escalate. The most memorable scenes occur in this final Act, on the bleak, empty salt flats, where the characters confront a herd of wild horses, which in turn forces the characters to confront their own inner wildness. Here at the finale, the B&W visuals transcend human effort. The simple dialogue soars to eloquence. "How do you find your way back in the dark?", asks Marilyn Monroe's character. Comes the response: "Just head for that big star, straight on". Cut to a shot of the vast empty landscape on a clear night, with eyes looking upward, an intuition of eternity.

How ironic these last scenes are. Back in 1960 no one could have known that the film's powerful ending would symbolize such a prescient real-life ending to the careers of two Hollywood legends.

To view "The Misfits" in 2006 turns out to be quite a chilling experience. Prophetically in its "doomness" - personal doomness that is. Arthur Miller writes, unwittingly, his wife's swan song and she sings it with a combination of uppers and downers. Pay attention to Eli Wallach describing Marilyn to Clark Gable. Was that Miller himself being particularly misogynistic or what hell was it? She talks about herself, they all talk about her. She is a hurricane right in the middle of a human storm. Montgomery Clift seems to be talking about himself too. The whole bloody thing is really close to the knuckle. Arid, depressing, slow and yet, riveting, funny, mesmerizing. "The Misfits" should be seen for a variety of reasons but to see Gable and Monroe sharing a black and white screen a short time before their deaths is an experience on itself.