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Showing 1-10 of 118 reviews(Verified Purchases). See all 202 reviews
on January 20, 2015
I rarely write reviews, and yet I feel strongly enough about this movie to take the time. I just watched it on TV, afterwards ordering a copy for my movie collection - since in my opinion this may be one of the best movies I have seen. I have watched many, many movies in my day and love the medium of film...and I don't often find myself drawn to the older ones, but this movie transcends the period in which it was made. The four main characters, played by Clark Gable, Marilyn Monroe, Eli Wallach and Montgomery Clift do an extraordinary job with Arthur Miller's script under John Huston's masterful direction. I read a review which came out following its release in 1961 which panned it - I can hardly believe the reviewer and I saw the same movie. Not having researched the movie, including reading other reviews of the time, I might guess that maybe the 'cognoscenti' of 1961 were (since the 60's had barely begun to percolate and release the wave of rising self-awareness that has both plagued and blessed us since!) still stuck in the bubble of the 50's that kept, for many, their internal landscapes more or less two dimensional. In any case, this movie celebrates Marilyn's deep beauty, Gable's rugged honesty and Wallach's ability to play many layers at a say nothing of the vulnerability of Clift. In fact, all the characters are infused with a somewhat painfully beautiful fragility. Mostly, I feel that much of the beauty of this film has to do with a somewhat puzzling honesty. Puzzling, in that all the actors - particularly Monroe and Clift, and even Huston, the director - were, in their lives, struggling mightily with their own integrity within their pain. Their love and their talent somehow made this film work for me.
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on July 8, 2013
I'd really give this film 4 1/2 stars. It's not an absolutely perfect movie, but it's pretty darn close. The huge panoramic shots. The fact that it's shot in black and white. I don't know the history of the making, but it certainly appears to have been filmed on location vs on a back-lot. Maybe the biggest downer for me was that it does appear that the horses are being treated very badly in some scenes. But it was a different time....well before the "no animals were harmed in the making of this film" disclaimer. But oveall I think this movie is an amazing "photograph" of a time in America when people were still struggling against a lot of modernization and the shift towards a more cookie-cutter world. Many times thru the film the cowboys talk about how doing any kind of work on your own is "better than wages"....meaning working a regular job for an hourly wage. I'm young enough that all I've ever known has been working a regular job for a wage or salary. But there is a certain appeal to the idea of finding work where you can find it and sort of making your way through the world however the spirit moves you. Most days I'm very thankful for my air-conditioned office and steady paycheck. But there was a time when I drove a truck for a living and as long as the deliveries were made on time nobody hassled me. And there was no "office politics" -- just me alone in a truck 5 days a week. And it was nice!!! Sometimes I miss that less structured work life. So I can relate (ever so slightly) to the refusal of the cowboys to assimilate as the world changes around them. And it goes without saying that Marilyn is stunning in every scene. It appears that had she not died, she would have transcended her "bombshell" persona and evolved into one hell of an actress. If you don't buy this movie then rent it. You owe it to yourself to see it at least once. It is 1 of those films that manages to be sad and depressing, yet entertaining and fun at the same time. Exceptional acting, exceptional camera work, exceptional locations. Absolutely a classic movie.
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on June 10, 2011
This is a beautiful film. A sort of early foray into independent filmaking, but in 1960. The actors, Clark Gable, Marilyn Monroe, Montgomery Clift and Eli Wallach, play people that seem to be only slight alterations of themselves in real life. The dramas and the suffering and the pain that went on behind the scenes in Marilyn's life at that time is reflected in every scene and seems to be a part of the dialogue itself. Clift was in turmoil as well and bonded closely with Marilyn. Gable was very much his character, Gay, and Eli Wallach had a similar conflict with Marilyn as he does in the film. It's like looking at mirrored realities folding in on each other, perfectly, and blending together to make a fuller, deeper image onscreen. The first thirty minutes, in particular, are mesmerizing. Here we see the real Norma Jean finally pouring out of Marilyn's face. The actors feel right and the performances are unusually casual, while exuding a special intensity. It's as if there's an awareness that a new era has begun and that all of that "Hollywood" makeup and hot air has been let out. The characters laugh about their loneliness and joke about the fact that nothing in life seems to make sense, yet none of them can shake the deep sadness under their every gesture. This dark feeling of forboding continues throughout the film. These are actors trying on new skin but, really, for the very first time, are just getting comfortable in their own skins. While some of the scenes with Marilyn seem a bit overacted, it doesn't matter. She is believable. She is totally "into" the character and the words. She was dramatic in real life, and so appears a bit dramatic to our tastes these days. This film is never really referred to or recognized as anything but Gable's and Monroe's final film. But it is truly a unique experiment for that time. It looks almost like a documentary and the visuals reflect the sordid and beaten down town of Reno just as they do the beaten down, tired faces of the actors. Marilyn was never more fragile-looking. But so is everyone else in the film. Maybe it was because the three main actors were heading toward their actual demise: Gable just a couple weeks after shooting, Marilyn a year and a half later and Clift, who limped along for another few years until he died in 1966. There is a sense that: "This is the end, folks." The film, for that reason, may be hard to watch for many. It's not a happy film. It's not trying to entertain you. It's a rare glimpse into a magical combination of actors who never had acted together before, yet had all once represented the beauty and allure of Hollywood. In this film they put a final nail in the coffin of Hollywood illusion. "Welcome to the 1960's", they seem to be saying. "There's no going back." But then they smile weakly and they laugh at themselves with another class of whiskey to get them through the next few moments. Still, living in the time where self-help meant just another glass of whiskey, and yet hoping and praying for a new time when they could rip off those facades and stop pretending. It was just around the corner,too. "The Misfits" hangs right in between the two eras: the old one passing away and the new one that would never look back.

The Blu-ray is superb, clear and sparkling in black and white. It's a treasure to have.
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on February 7, 2016
One of the best deal in Marilyn Monroe dvds. Two of her best movies and best actings, Misfits is a very underrated movie obout a sensitive woman who feels she doesn't belong to this cruel world. Marilyn Monroe said this movie should be in color and she was right, but they didn't listen to her to save money.
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on November 2, 2013
John Huston's somber depiction of the twilight of American individualism looked great on DVD (MGM, 2001), its crisp black-and-white photography presented in a sharp-- albeit non-anamorphic-- letterbox format. 'The Misfits' (Seven Arts, 1961) on Blu-ray now fills the screen anamorphically, presenting in even greater detail the bleak, sweeping Nevada landscapes populated by cinema legends Gable, Monroe and Clift (with Mr. Wallach and Ms. Ritter admirably holding their own). What disappoints somewhat are the lack of extras (a theatrical trailer only) and the persistence of some ghosting that's been made more noticeable in hi-def. Still, all things considered, it is an improvement. Film rates 4 stars, BD 3 1/2.
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on November 7, 2010
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 an immensely promising yet fascinatingly tragic period of American history that still intrigues and confounds. She just "fits" it perfectly.
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on March 22, 2016
One of the most important American movies ever made. Three legends, all dead within a few years. Every performance an absolute sensation. Monroe could have made so many great films and this was just the start. A blistering comment on an America that was rapidly disappearing right before our eyes. I tried to get friends into this when I had it on VHS. They all fell asleep.
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on September 27, 2016
Classic and sorta creepy. If the fact Gable and Monroe both died shortly after filming wrapped isn't creepy enough, Gable's character's on-screen romance with Monroe's character defines creepy. Watching this movie for the first time actually caused a little ball of tension in me wondering how the plot would unfold. Fascinating story and for a Reno area resident, the area filming locations are a must see.
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on June 10, 2015
This movie is from my young adulthood, with 3 of my favorite actors and happens to be the last film for all. This film is about three lost people. It is a wonderful well acted film, from 'the old day' I enjoyed it very much. Everyone//Hollywood said Marilyn couldn't act, but I disagree 100%! She could do broad comedy to high drama! I recommend this film and all films with each of these actors
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on December 11, 2012
This one is painful to watch, (Marilyn Monroe the train wreck, Gable's last breaths, Monty's reconstructed face) but it is so well crafted and written and shot that you can't take your eyes away. An abundance of broken people here, in character and real life, it's beautifully shot with Marilyn Monroe as the centerpiece of its regal visual iconography. In some scenes Monroe is present, and in others she is barely there and speaks her lines with no seeming connection to to the rest of the script or to any part of if vapor had a language. The part was written incisively for her by her playwright spouse Arthur Miller who could capture the turmoil of her soul up close and personal.
One in a long line of brilliantly perverse John Huston character studies, he specializes in the seamy underbelly of human nature and he draws blood from Miller's desolate script here. Aptly named The Misfits, it is just that.
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