The Misfits review: when art and life collide

Rosalyn, a beautiful divorcee (Monroe) and her wise-cracking friend (Ritter) are invited to stay with an ageing cowboy (Gable) and his friend (Wallach). The men enlist the help of a rodeo-rider (Clift) so that they might round up the ‘misfit’ mustangs.

It's practically impossible to watch The Misfits without thinking of the fraught conditions that the film was made in. Film lore tells us that director John Huston was hitting the bottle throughout the production. And who could blame him?

Where to begin? Leading lady Marilyn Monroe’s marriage to Arthur Miller – who penned the screenplay as a “love-letter” – was disintegrating in a haze of medication. The shoot had to shut down for weeks while she checked into rehab. Clark Gable would have a heart attack two days after production; he died 10 days later. The temperatures in the Nevada desert frequently hit 42 degrees.

Many critics were disappointed with the film on release. For all the talent attached – producer Frank E Taylor had proclaimed The Misfits as “the ultimate motion picture” – detractors criticised the film for being worthy and shallow and overly theatrical.

Still, for all such caveats, there’s something wonderful about the picture.

Bolstered by incredible, career-best performances from Monroe and Gable and the meticulous photography of Russell Metty, it’s a powerful and moving viewing experience. As Monroe and Gable ride off in their truck – neither would live long enough to make another film – they seem to leave behind Hollywood cinema as we know it.