When news broke that Clark Gable suffered a heart attack shortly after wrapping up production on The Misfits, it sent ripples through Hollywood and beyond. This occurred in the lead-up to the 1960 election, a detail cemented by mentions in Gable’s biographies noting his absentee vote that year. His subsequent passing, coupled with anticipation for his posthumous film and the birth of his son, cast a somber shadow over the release of The Misfits. In retrospect, this John Huston directed film carries an even greater weight, marking not just a cinematic event, but a poignant end of an era.
Gable’s age, 59 during filming, is undeniably visible in The Misfits. Yet, this very fact adds depth to his portrayal of Gay Langland, a character grappling with obsolescence. He still commands the screen with that signature gruff charisma, making it believable why Marilyn Monroe’s character finds him alluring. Langland is a richly layered, embittered man, abandoned by family and witnessing his way of life fade into the past. A recurring theme, fear of wage labor, resonates deeply with Langland and his companions, Monty Clift and Eli Wallach’s characters, highlighting their outsider status.
For Montgomery Clift’s Perce Howland, this fear is intertwined with a deeper resentment. Cheated out of his inheritance by a stepfather, the rodeo circuit becomes his refuge, though his prime in this perilous profession is also waning. Clift masterfully embodies this wounded pride and vulnerability.
Eli Wallach’s Guido initially presents a facade of sensitivity, but as the narrative unfolds, his intentions become less nuanced. His pursuit of Marilyn Monroe’s Roslyn reveals a more superficial character, relying on practiced charm in his quest for affection. This contrast adds to the film’s complex portrayal of human relationships.
Marilyn Monroe’s Roslyn, a recent divorcée from the East, serves as the film’s moral compass. Her discomfort arises when the men turn to capturing mustangs to sell to dog food manufacturers. This illegal and ethically questionable venture throws the group’s misfit status into stark relief. The film doesn’t shy away from showcasing Monroe’s physical allure, but it also uses her character to question the morality of their actions.
As The Misfits progresses, the wild mustangs of the Nevada desert transcend mere backdrop, becoming symbolic counterparts to the human characters. They too are misfits, displaced and unwanted in the modern world, their only perceived value reduced to canned pet food. This mirroring elevates the film beyond a simple drama, imbuing it with a deeper commentary on societal displacement.
The physically demanding scenes, particularly Gable’s roping and being dragged by a horse, were undoubtedly strenuous. While rumors circulated linking Marilyn Monroe’s on-set struggles to Gable’s demise, these are largely unfounded. It’s more pertinent to question director John Huston’s decision to allow Gable to perform such risky stunts without a stunt double, given his age and health. Monroe’s well-documented personal issues during filming were indeed challenging, but attributing them to Gable’s heart attack is a drastic oversimplification.
Decades later, The Misfits endures as a powerful and relevant film. The performances from Gable, Monroe, Clift, and Wallach remain compelling, cementing its place as a classic. John Huston’s direction captured a raw and honest portrayal of individuals struggling to find their place in a changing America, making the misfits john huston a film that continues to resonate with audiences today.
