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.
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.
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.
Dpressed divorcèe, Roslyn Tabor (Monroe), and Gay Langland (Gable), an aging ex-cowboy, who survives by rounding up and catching mustangs (and sselling them to slaughterhouses Wallach plays Guido, Langland's pilot partner, and Clift plays Perce Howland, a drifter rodeo rider.Written by
While working a rodeo in Pocatello, Idaho, Montgomery Clift was bruised on the bridge of his nose. It was exactly the type of injury his character was supposed to have in the film. See more »
When Wallach introduces Monroe to his house, he turns on the fridge to make some ice. However, in the next scene, when she asks for some music to be played, he says that the house has no electricity supply. 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 »
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.
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