Marilyn Monroe
Roslyn Taber
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Western
Drama
Romance
While filing for a divorce, beautiful ex-stripper Roslyn Taber ends up meeting aging cowboy-turned-gambler Gay Langland and former World War II aviator Guido Racanelli. The two men instantly become infatuated with Roslyn and, on a whim, the three decide to move into Guido's half-finished desert home together. When grizzled ex-rodeo rider Perce Howland arrives, the unlikely foursome strike up a business capturing wild horses.
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| Release Date | 1961-02-01 |
|---|---|
| Runtime | 2h 4m |
| Directors | Russell Metty, John Huston, Carl Beringer, Rex Wimpy, Tom Shaw, John Gaudioso |
| Producers | Frank E. Taylor, John Huston |
| Writer | Arthur Miller |
Four lost souls in the Nevada desert wilderness
A recently divorced blonde bombshell in Reno (Marilyn Monroe) befriends three guys and stirs their passions: An aging cowboy (Clark Gable), a cynical bush pilot (Eli Wallach) and a brooding rodeo contender (Montgomery Clift). They take an excursion to capture wild mustangs for profit. Thelma Ritter is on hand as a fifth misfit in the first half.
“The Misfits” (1961) was Gable and Monroe’s final film and Clift’s last significant one. Gable passed away a few days after shooting from a heart attack while Marilyn died 18 months after its release. Clift was dead by 1966. Even Ritter died before the 60s were over.
It’s a B&W drama with Western elements and haunting reflections on the nature of life and death, reminiscent of those Tennessee Williams’ flicks of the era, like “The Night of the Iguana” and “The Fugitive Kind.” The characters are lost souls who drown out their pain with lots of drinking and shallow socializing. Monroe is voluptuous and charismatic; and there are thematic gems here and there, like Gay’s potent commentary on doing something with pure intentions while society pulls a bait-and-switch and it becomes morally dubious or outright bad. The film’s also a fascinating period piece.
FYI: Director John Huston originally wanted Robert Mitchum for Gable’s role, but by the time they worked the kinks out of the script Mitchum was busy with another project. The writer, Arthur Miller, was Marilyn’s husband during shooting, but they were officially divorced 11 days before its release.
GRADE: B+/A-
— Wuchak
This is a belter of a film that reminded me of just how imposing Clark Gable could be on screen with a strong part and a decent script. He is "Gay", a tough but pretty past-it cowboy who is hanging out with his buddy "Guido" (Eli Wallach) leading a pretty aimless existence with a lifestyle that is gradually withering on the vine. That all changes when they encounter the flighty "Roslyn" (Marilyn Monroe) who has arrived in Reno to get a divorce. Briefly, a bit of a love triangle develops and despite them moving to a house that "Guido" was building for his late wife, she sets her hat at "Gay" instead, and a relationships starts to burgeon. Both men still have the wrangling spirit, and when a small herd of mustangs is spotted, they want to catch some (to sell on for dog food!), but for that they need another. Fortunately, en route to a rodeo they encounter the broke and stranded "Perce" (Montgomery Clift) and are soon chasing down the horses in the Nevada desert - much to the horror of "Roslyn". There are quite a few tussles in this well paced and creatively shot drama with all four characters having issues with the others that test their loyalties, integrity and spirit - as well as offering us just a soupçon of romance as the story concludes and choices have to be made. As ever, Thelma Ritter contributes well - though only at the start - as their broken-armed pal "Isabelle" but it's really just the quartet that gel effectively for this robust and characterful story and who keep this entertaining for just over the two hours. I never really got why Monroe became such a star. Very attractive, yes, but not really much of an actress. Here, though, she ups her game a bit and is much better - more natural - than usual. There's quite a duel between man and horse at the end that's almost worth watching the whole film for too. Good stuff!
— CinemaSerf