The Misfits (John Huston, 1961)

[myrnaloyisdope]

I finally got around to watching my copy of The Misfits last night, and what struck me most was how profoundly sad it was. The melancholy of the lead performances worked perfectly in conjunction with the stark desert landscape.

I've never seen such a heartbreaking performance by Clark Gable as Gay, usually his persona is so knowing and self-assured, but here that persona is subverted, as he goes from a man who simply lives life as he feels, to someone haunted both by the loss of his family, and by a world that has changed. His drunken breakdown is absolutely devastating.

I suppose each of the leads is driven by similar sense of loss, I mean Marilyn Monroe's Roslyn is newly divorced, throughout the film her innocence and idealism are constantly being challenged by the often brutal practicality of the men around her. Eli Wallach's Guido is haunted by the death of his wife, and the death of his ambition, which is represented through his changing jobs, and his unfinished house. Montgomery Clift's Pierce is estranged from his family, his land, and I would argue his rodeo career which is nearing its end.

These are all broken and lost people, who despite their protestations that about the ease and beauty of their lives, have no idea who they are, or what they are doing. Roslyn might be the closest to understanding herself, but her connection and concern for animals and people are constantly challenged and undermined by the harsh reality of the land and her friends.

I found it interesting that the only scenes of outward joy occur when the characters are drinking. The paddle-ball scene, the celebration after the rodeo, the initial impromptu gathering at Guido's house. But all these scenes are quite brief as well, and the post-rodeo celebration ends with Gay's terrifying breakdown.

The performances and the screenplay convey the sense of loss quite powerfully, and I think Huston's direction aids in this as well. The black & white photography is beautiful but stark, while his framing and composition are simple but effective. I really liked how Huston paced the film, letting scenes linger, and using close-ups, and letting the actor's faces and body language convey meaning above and beyond their dialogue. Also Huston's direction of the final sequence where they go "mustanging" is superb action directing, building tension, and capturing realism, and making Clark Gable look manly til the very end.

I think the sense of melancholy was heightened for me somewhat do to extratextual interpretation. I mean it's hard to look at this film without thinking of the real-life fates of Gable, Clift, and Monroe. I mean Gable died 3 days after filming, Clift was dead within 5 years, and of course Monroe was dead a year later, with this being her final finished film. The fact that Clift and Monroe both had major substance abuse problems, and seem very much like tragic and disconnected figures gives their performances in the film an added realism.

Then of course you have Arthur Miller who wrote the play while getting a divorce from Monroe, writing the screenplay and working with Huston on the set with his ex-wife in the lead. In addition to that you have John Huston's own heavy drinking and gambling while working on the film. I mean the whole production seems like a perfect storm of sorrow, addiction, heartbreak, and human suffering, which had to have contributed to making such a sad film. Talk about suffering for you art, but thankfully we have a truly great film left behind.

[MikeBSG]

I only caught up with "The Misfits" earlier this year, and it impressed me a lot. Gable was terrific.

What really impressed me was the scene in which the guys chased down the mustangs. That must have been difficult to film, and it must be one of the great action scenes in American cinema.

[charliechaplinfan]

I first watched The Misfits when I was in my teens. I've rewatched it a few times since and each time I find it more poignant.

Clark Gable goes out on a high, giving his best performance with the exception perhaps of Rhett Butler.

I remember reading years ago that Marilyn resented the role that Arthur Miller had written for her, especially the scene where she screams at the men to release the horses. I think the role is the best dramatic performance Marilyn gave.