The Misfits - A film that still come to the top of the great American films. Sure is a underrated movie, perhaps because it is the end of a movie career of Marilyn Monroe - who died in a short time - a little discredited at the time, because of his complicated life and aimlessly. But it is a great movie. Marylin has a perfect interpretation here, as the fragile Roslyn. Clark Gable also in late career (he would die shortly after the conclusion of the film), can give huge credibility to his character, a weary cowboy, no hope, no future. Eli Wallach, one of the greatest actors ever seen, has an extraordinary, unusual performance in his career. And Montgomery Clift manages to convey the anguish of a man who also walks to an uncertain, fragile and tormented future. Not enough this unusual group, we still have Thelma Ritter, possibly the greatest supporting actress in film history. Perfect and captivating. A photo in black and white is wonderful, perfectly suited to the film aims to show us. John Huston has here one of his good moments. The story is very good, with a screenplay by Arthur Miller and emotionally charged. The cast is impeccable as I said and the film has a touching end, where humans and nature are realizing that life is very simple. The man who complicates it. Worth watching The Misfits, and I mean even the day will come that he will be hailed as one of the greatest movies ever made

Roslyn Taber (Marilyn Monroe) feels disconnected with her husband and divorces him. Mechanic Guido (Eli Wallach) lusts after her. Old worn out cowboy Gay Langland (Clark Gable) falls head over heals for her. Struggling rodeo cowboy Perce Howland (Montgomery Clift) is fascinated by her. All three are damaged people who fall under her spell. The men go to corral wild mustangs to sell for dog food.The people behind this movie are amazing. Director John Huston and writer Arthur Miller are brilliant people. The troubled production and Marilyn's behavior only adds to its legendary status. Her wildly unstable performance only adds to her character. It does get tiring to see these completely broken men lusting over the sexual dynamite. Eli Wallach is absolutely brilliant. His infatuation is hopelessly sad and creepy. Oddly Clark Gable is even older. Montgomery Clift comes in later in the movie. He probably needs to be introduced earlier. This movie ends with a climatic horse corralling. It's great action. Before that, this movie is a bit of a mess... just like the characters.

John Huston's "modern western" is one of his best...and one of the most historically important films. The last film appearances of Clark Gable & Marilyn Monroe have made this film legendary. Horse wrangler Gable gets much more than he bargained for when he and fellow cowpoke Eli Wallach befriend recent divorcée Monroe. She's an emotional wreck and so is Gable...and so is rodeo rider Montgomery Clift, who joins the group on a round up. A potent drama filmed in stark B&W and with an exceptional script by Arthur Miller. Monroe gives what is arguably her best performance (save BUS STOP) and Gable, twenty-plus years after GONE WITH THE WIND, still exudes charms that made him a screen icon. He's neither good guy nor bad. The supporting cast is exceptional. In addition to Wallach, there's Thelma Ritter, Estelle Winwood, and, briefly, Kevin McCarthy as Monroe's soon-to-be ex. Society doyenne Marietta Tree has a cameo as one of Gable's "conquests." Featuring one of composer Alex North's very best scores. A great movie.

John Huston's filming of Arthur Miller's THE MISFITS was dismissed at the time -- even by its doomed stars (well, "doomed" except for Eli Wallach, who is with us still at the grand old age of 137) but this poignant parable, set in the Nevada foothills, has aged as well as almost any film Marilyn ever did. And, in many ways, reflects most vividly what made her so distinct.Younger people sometimes ask about the nature of her appeal, what was so superlative about her?, was she overrated?, was she just another "it girl" for her day?, etc...In addition to being genuinely very pretty (most Hollywood "beauties" really are not) with an absolutely perfect feminine body (despite the occasional weight bump) Marilyn really did perfect the tormented, seemingly helpless blonde sex kitten persona better than anyone else, before or since, blending both the "nice girl" and "bad girl" archetypes of the mid-twentieth century.Also, she's one of the only ones who left behind a filmography of genuinely good pictures.But the era is also key to her appeal; they're inseparable... The idealized, picture perfect self-image America had during the sleepily optimistic new consumerism of the post-war, primary color-saturated 1950's when her career occurred, and the haunted end-of-an-world mood at the peak of the Cold War during the JFK years in the early-'60s when she died, mysteriously, in that cozy little bungalow in Brentwood.You either "get" that gauzy, wistful atmosphere or you don't. But it was immediately apparent even then, and it has everything to do with why Marilyn wasn't just one of the screen's greatest sex symbols (arguably, THE greatest) but an ideal icon and metaphor for a promising yet fascinatingly tragic period of American history that still intrigues and confounds.She just "fits" it perfectly.