When billionaire Jean-Marc Clement learns that he is to be satirized in an off-Broadway revue, he passes himself off as an actor playing him in order to get closer to the beautiful star of the show, Amanda Dell.
The titular river unites a farmer recently released from prison, his young son, and an ambitious saloon singer. In order to survive, each must be purged of anger, and each must learn to understand and care for the others.
Showgirls Lorelei Lee and Dorothy Shaw travel to Paris, pursued by a private detective hired by the suspicious father of Lorelei's fiancé, as well as a rich, enamored old man and many other doting admirers.
Roslyn Taber, the type of woman who turns heads easily, recently came to Reno to get a quickie divorce, she having no idea what to do with her life after that. She cannot tolerate seeing animal suffering, let alone human suffering. Coinciding with getting the divorce, Roslyn meets friends Gay Langland and Guido, a divorced aging grizzled cowboy and a widowed mechanic respectively. Although Guido makes no bones about wanting to get to know Roslyn in the biblical sense and although he "saw her first", Roslyn begins a relationship with Gay, despite Roslyn's friend Izzy Steers, who originally came to Reno years ago to get her own divorce and never left, warning her about cowboys as being unreliable, and despite Roslyn initially not being interested in Gay "in that way". Gay has grown children who he rarely sees and wishes he was there for more than was the case. Gay and Roslyn move into the under construction farmhouse owned by Guido, which he was building for his wife before she died. ... Written by
The start of production was postponed because Marilyn Monroe's earlier film, Let's Make Love (1960), had been delayed by a Screen Actor's Guild strike. This meant the film would be shot in Arizona during the height of summer heat. See more »
The wild horses are captured by throwing a loop around their neck. Yet, when we see one of the horses on the ground, the rope is looped around the neck AND muzzle, to fashion a makeshift halter, revealing that the horse is halter broke. See more »
Young man, do you have the time? I got six clocks in the house and none of them work.
Twenty after nine.
After? It's twenty after, dear. Dahlin'. Five minutes.
What about you?
I'm all set, I just tyin' my sling. The lawyer said nine thirty sharp, dahlin'.
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Opening credits are shown on and around puzzle pieces. See more »
Two of the previous comments have it right about Nevada. It is without question the most barren of places in terms of the sustenance of human life, yet it has a rare beauty that transcends the ugliness of its crass cities and radioactive vistas. The fact that it encompasses an entirely landlocked basin in which great rivers roar down to disappear in dry lakebeds speaks to the main point. Pristine alpine meadows form islands in the sky surrounded by millions of acres of desolation.
When I first saw "The Misfits" in 1961, after having read the savage reviews and followed the sensational press coverage of its production, my initial reaction was that most people just missed the point. I still think so, particularly after reading some of the negative comments here that parrot accepted wisdom about filmmaking in general and what is perceived as a misfire by Miller and Huston. But I have news for the naysayers: this film tells it like it is.
So what if it's a stage play set in the desert? So what if the characters devolve and come apart according to some apparently hidden hand of random fate? Those who get the story right are those who see past what seem at first to be surreal clichés existing only as fodder for the cameras and instead grasp the horror and ugliness of what passes as everyday life for the eponymous ensemble. Nothing happens, and yet everything happens.
Gable, Monroe, Clift. Arthur Miller himself. Figures that seem larger than life. This has little to do with horses and everything to do with the tragedy of Everyman.
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