The Misfits


2h 4m 1961
The Misfits

Brief Synopsis

A sensitive divorcee gets mixed up with modern cowboys roping mustangs in the desert.

Film Details

MPAA Rating
Genre
Drama
Western
Classic Hollywood
Release Date
Jan 1961
Premiere Information
New York opening: 1 Feb 1961
Production Company
Seven Arts Productions
Distribution Company
United Artists
Country
United States

Technical Specs

Duration
2h 4m
Sound
Mono
Color
Black and White
Theatrical Aspect Ratio
1.85 : 1

Synopsis

While staying at Isabelle Steers' roominghouse in Reno, newly-divorced showgirl Roslyn Taber meets Gay Langland, a ruggedly independent, aging cowboy. Immediately attracted to each other, they move into a partly completed ranchhouse belonging to Gay's friend Guido, a part-time mechanic who has turned into an aimless wanderer since the death of his wife in childbirth. The brief idyll ends when Guido devises a plan for rounding up some mustangs, wild horses often termed "misfits" because they are too small for riding. Gay and Guido need a third partner and take on Perce Howland, a battered and disillusioned rodeo performer. When Roslyn learns that the mustangs are to be sold to a dogfood manufacturer, she is revolted by this brutal destruction of life and begs Gay to call off the hunt. But he refuses, and the three men, accompanied by the reluctant Roslyn, ride up to the salt flats in the Nevada foothills. Six horses are driven out onto the flats by Guido's flivver plane and then chased and roped from a speeding truck. Sickened by the pathetic plight of the creatures, Roslyn appeals to the sensitive Perce, who sets the animals free. Enraged by this defiance of his authority, Gay recaptures the lead stallion and succeeds in subduing it. Then, having asserted his will, he sets the animal free. More understanding and respectful of each other, Gay and Roslyn return home, while Perce and Guido go their separate ways.

Crew

Angela Allen

Script Supervisor

Carl Beringer

Assistant Director

Lefty Budman

Gaffer

Ross Burke

Props master

R. D. Cook

Sound Recording

Charles Cowie

Key grip

Bobby Davenport

Wranglers

John Day

Stuntmen

C. O. Erickson

Production Manager

Agnes Flanagan

Hairstyles

Bruce Galbraith

Wranglers

Bunny Gardel

Body makeup

John Gaudioso

Assistant Director

Stephen Grimes

Art Director

Ledger Haddow

Camera

Cindy James

Dog trainer

Bill Jones

Wranglers

Cline Jones

Special Effects

Richard Kelley

2nd unit Camera op

Frank Larue

Makeup Artist

Stewart Linder

Assistant film Editor

Al Marsh

Boom Operator

Frank Mckelvy

Set Decoration

Russell Metty

Director of Photography

Arthur Miller

Screenwriter

Philip Mitchell

Sound mix

Michael Moramarco

Assistant Camera

Jesse Munden

Costumes

George Nelson & Co.

Main titles

William Newberry

Art Director

Alex North

Music comp & Conductor

Jim Palen

Stuntmen

Edward Parone

Assistant to the prod

Richard Pasco

Stuntmen

Bud Pine

Constr coöd

Frank Prehoda

Makeup Artist

Edwin Pyle

2nd Camera

Buford Randall

Wranglers

Frank Remsden

Script Supervisor

Chuck Roberson

Stuntmen

Connie Roese

Negative cutter

Louis Schwartz

1st Camera

Tom Shaw

Assistant Director

Tom Shaw

2nd unit Director

James (buddy) Sherwood

Wranglers

J. Lewis Smith

Dial coach

Allan Snyder

Makeup Artist

Al St. Hilaire

Stills

Robert Stephen

Painter gang boss

Shirlee Strahm

Wardrobe

Paula Strasberg

Dial coach

Frank E. Taylor

Producer

George Tomasini

Film Editor

Harry Underwood

2nd unit Camera op

Rex Wimpy

2nd unit Photographer

Photo Collections

The Misfits - Behind-the-Scenes Photos
Here are a few photos taken behind-the-scenes during production of John Huston's The Misfits (1961), starring Clark Gable, Marilyn Monroe, and Montgomery Clift and written by Arthur Miller.

Videos

Movie Clip

Misfits, The (1961) - God Bless You Too We're introduced here to Perce (Montgomery Clift), phoning home as his buddy Gay (Clark Gable) happens by with the newly divorced Roslyn (Marilyn Monroe) and friends (Eli Wallach, Thelma Ritter) in this famous scene from John Huston's contemporary Western, The Misfits, 1961.
Misfits, The (1961) - You Can't Learn That Aging cowhand Gay (Clark Gable) and his maybe-nasty mechanic friend Guido (Eli Wallach) have just picked up Roslyn (Marilyn Monroe), immediately after her Reno divorce, and friend Izzy (Thelma Ritter), tensions and booze kicking in, John Huston directing, early in The Misfits, 1961.
Misfits, The (1961) - Ten Times In A Row Screenwriter Arthur Miller wrote this scene for his wife Marilyn Monroe (as Roslyn) in which she causes a big ruckus by playing paddle-ball in a cowboy bar in The Misfits, 1961.
Misfits, The (1961) - Mustang Blood Roslyn (Marilyn Monroe) is disconsolate after learning what happens to the horses Gay (Clark Gable) rounds up and sells, in The Misfits, 1961, probably as long a single take as any in Gable's career, directed by John Huston from a an original screenplay by Monroe's then-husband Arthur Miller.
Misfits, The (1961) - One Thing About Reno Men John Huston shooting on location at what was then Harrah’s, Reno, Roslyn (Marilyn Monroe) straight from her divorce and confidante Isabelle (Thelma Ritter) meet mechanic Guido (Eli Wallach), who worked on her car, and buddy Gay (Clark Gable), who just dumped a girlfriend, early in The Misfits, 1961.

Trailer

Hosted Intro

Promo

Film Details

MPAA Rating
Genre
Drama
Western
Classic Hollywood
Release Date
Jan 1961
Premiere Information
New York opening: 1 Feb 1961
Production Company
Seven Arts Productions
Distribution Company
United Artists
Country
United States

Technical Specs

Duration
2h 4m
Sound
Mono
Color
Black and White
Theatrical Aspect Ratio
1.85 : 1

Articles

The Essentials - The Misfits


SYNOPSIS

Roslyn, a newly-divorced showgirl living in Reno, becomes romantically involved with Gay, a ruggedly independent cowboy. Together they move into Gay's isolated ranch house in the desert but their relationship is soon complicated by Gay's business venture with two partners, Guido, a part-time auto mechanic, and Perce, a down-on-his-luck rodeo performer. The three men plan to round up and capture a group of wild mustangs to sell to a dog food manufacturer. Roslyn's opposition to their plan, however, creates a tension within the group that has an unpredictable effect.

Director: John Huston
Producer: Frank E. Taylor
Screenplay: Arthur Miller
Cinematography: Russell Metty
Editing: George Tomasini
Art Direction: Stephen Grimes, William Newberry
Music: Alex North
Cast: Clark Gable (Gay Langland), Marilyn Monroe (Roslyn Taber), Montgomery Clift (Perce Howland), Thelma Ritter (Isabelle Steers), Eli Wallach (Guido), Estelle Winwood (Church Lady), Kevin McCarthy (Raymond Taber), Marietta Tree (Susan)
BW-124m.

Why THE MISFITS is Essential

Although it was a financial failure on its initial release, The Misfits has acquired a special glamour as the last film completed by its two stars, Clark Gable and Marilyn Monroe. Gable died within weeks of completing the picture, while Monroe died only a year and a half after its release. In addition, Montgomery Clift died five years later. As a result, it is frequently shown in retrospectives and excerpted in documentaries focusing on its stars and has become a television perennial.

The Misfits was a pioneering work in the development of the American Western. It was a more contemporary take on the genre and reflected a bleaker outlook than the simple moral world of the traditional Western. As Miller would write, "Westerns and the West have always been built on a morally balanced world where evil has a recognizable tab -- the black hats -- and evil always loses out in the end. This is that same world, but it's been dragged out of the nineteenth century into today, when the good guy is also part of the problem."

The film's depiction of idealistic losers fits in with director John Huston's key themes, making it an important work in his development as an auteur. In particular it parallels his earlier Western The Treasure of the Sierra Madre (1948) and the crime film The Asphalt Jungle (1950), which helped make Monroe a star.

The Misfits was one of the first features packaged by a Hollywood agency. Agent George Chasin represented writer Arthur Miller, Monroe, Gable and producer Frank Taylor.

The Misfits was the first film Huston had shot in the U.S. in over a decade (the previous one was The Red Badge of Courage in 1951), reflecting a deepening in his vision of American life.

by Frank Miller
The Essentials - The Misfits

The Essentials - The Misfits

SYNOPSIS Roslyn, a newly-divorced showgirl living in Reno, becomes romantically involved with Gay, a ruggedly independent cowboy. Together they move into Gay's isolated ranch house in the desert but their relationship is soon complicated by Gay's business venture with two partners, Guido, a part-time auto mechanic, and Perce, a down-on-his-luck rodeo performer. The three men plan to round up and capture a group of wild mustangs to sell to a dog food manufacturer. Roslyn's opposition to their plan, however, creates a tension within the group that has an unpredictable effect. Director: John Huston Producer: Frank E. Taylor Screenplay: Arthur Miller Cinematography: Russell Metty Editing: George Tomasini Art Direction: Stephen Grimes, William Newberry Music: Alex North Cast: Clark Gable (Gay Langland), Marilyn Monroe (Roslyn Taber), Montgomery Clift (Perce Howland), Thelma Ritter (Isabelle Steers), Eli Wallach (Guido), Estelle Winwood (Church Lady), Kevin McCarthy (Raymond Taber), Marietta Tree (Susan) BW-124m. Why THE MISFITS is Essential Although it was a financial failure on its initial release, The Misfits has acquired a special glamour as the last film completed by its two stars, Clark Gable and Marilyn Monroe. Gable died within weeks of completing the picture, while Monroe died only a year and a half after its release. In addition, Montgomery Clift died five years later. As a result, it is frequently shown in retrospectives and excerpted in documentaries focusing on its stars and has become a television perennial. The Misfits was a pioneering work in the development of the American Western. It was a more contemporary take on the genre and reflected a bleaker outlook than the simple moral world of the traditional Western. As Miller would write, "Westerns and the West have always been built on a morally balanced world where evil has a recognizable tab -- the black hats -- and evil always loses out in the end. This is that same world, but it's been dragged out of the nineteenth century into today, when the good guy is also part of the problem." The film's depiction of idealistic losers fits in with director John Huston's key themes, making it an important work in his development as an auteur. In particular it parallels his earlier Western The Treasure of the Sierra Madre (1948) and the crime film The Asphalt Jungle (1950), which helped make Monroe a star. The Misfits was one of the first features packaged by a Hollywood agency. Agent George Chasin represented writer Arthur Miller, Monroe, Gable and producer Frank Taylor. The Misfits was the first film Huston had shot in the U.S. in over a decade (the previous one was The Red Badge of Courage in 1951), reflecting a deepening in his vision of American life. by Frank Miller

Pop Culture 101 - The Misfits


Production stories about the making of The Misfits were published in a 1961 issue of Photoplay as "The Curse of The Misfits." James Goode's production diary, The Story of The Misfits," was published in 1963.

Because of his success in The Misfits, Montgomery Clift won the leading role in director John Huston's next film, Freud (1962). The results were disastrous. The two fell out, partly over Clift's insecurities and partly because he had brought a boyfriend with him for a stay at Huston's Irish estate. After that, Huston browbeat him mercilessly throughout the production.

Huston also wanted to cast Marilyn Monroe in Freud as the patient whose treatment helped the famed psychoanalyst frame his ideas about infant sexuality. Horrified at The Misfits' financial failure, 20th Century-Fox president Spyros Skouras refused to loan her to Huston for the film, and the role went to Susannah York.

Although a critical and box office failure on its initial release, The Misfits has developed a strong following among younger critics and audiences captivated by the glamour of Clark Gable, Monroe and Clift. Genre critics in particular have praised the film as a new take on the Western, with its creation of an insular society of losers (a common theme in Huston's work) brought together by their displacement from contemporary American society.

In 1989, Irvington Publishers printed the screenplay in an anthology also featuring scripts from The Apartment (1960) and Charade (1963).

In a 1993 episode of the science fiction series Quantum Leap, Sam Beckett (Scott Bakula) convinces Monroe to accept her role in The Misfits and even gives the film its title.

The 1996 television movie Norma Jean & Marilyn shows Mira Sorvino, as Monroe, working on the film with Arthur Miller (David Dukes) and Montgomery Clift (Jeffrey Combs).

Clips from The Misfits often turn up in documentaries about Hollywood's golden years, including Montgomery Clift (1983), John Huston: The Man, the Movies, the Maverick (1989) and Clark Gable: Tall, Dark and Handsome (1996).

PBS' Great Performances series devoted a 2002 episode to "Making The Misfits". Brian Dennehy narrated the documentary, which included interviews with actors Eli Wallach and Kevin McCarthy, photographer Inge Morath (later Mrs. Arthur Miller), production assistant Edward Parone and John Huston's son Tony.

Inge Morath's behind-the-scenes photographs were displayed at the Nevada Museum of Art in 2007 under the heading "Inge Morath: Road to Reno."

Many of Inge Morath's on-the-set photographs from The Misfits as well as the stills from other photographers from the Magnum photographic agency were published in The Misfits by Serge Toubiana for Phaidon Press.

by Frank Miller

Pop Culture 101 - The Misfits

Production stories about the making of The Misfits were published in a 1961 issue of Photoplay as "The Curse of The Misfits." James Goode's production diary, The Story of The Misfits," was published in 1963. Because of his success in The Misfits, Montgomery Clift won the leading role in director John Huston's next film, Freud (1962). The results were disastrous. The two fell out, partly over Clift's insecurities and partly because he had brought a boyfriend with him for a stay at Huston's Irish estate. After that, Huston browbeat him mercilessly throughout the production. Huston also wanted to cast Marilyn Monroe in Freud as the patient whose treatment helped the famed psychoanalyst frame his ideas about infant sexuality. Horrified at The Misfits' financial failure, 20th Century-Fox president Spyros Skouras refused to loan her to Huston for the film, and the role went to Susannah York. Although a critical and box office failure on its initial release, The Misfits has developed a strong following among younger critics and audiences captivated by the glamour of Clark Gable, Monroe and Clift. Genre critics in particular have praised the film as a new take on the Western, with its creation of an insular society of losers (a common theme in Huston's work) brought together by their displacement from contemporary American society. In 1989, Irvington Publishers printed the screenplay in an anthology also featuring scripts from The Apartment (1960) and Charade (1963). In a 1993 episode of the science fiction series Quantum Leap, Sam Beckett (Scott Bakula) convinces Monroe to accept her role in The Misfits and even gives the film its title. The 1996 television movie Norma Jean & Marilyn shows Mira Sorvino, as Monroe, working on the film with Arthur Miller (David Dukes) and Montgomery Clift (Jeffrey Combs). Clips from The Misfits often turn up in documentaries about Hollywood's golden years, including Montgomery Clift (1983), John Huston: The Man, the Movies, the Maverick (1989) and Clark Gable: Tall, Dark and Handsome (1996). PBS' Great Performances series devoted a 2002 episode to "Making The Misfits". Brian Dennehy narrated the documentary, which included interviews with actors Eli Wallach and Kevin McCarthy, photographer Inge Morath (later Mrs. Arthur Miller), production assistant Edward Parone and John Huston's son Tony. Inge Morath's behind-the-scenes photographs were displayed at the Nevada Museum of Art in 2007 under the heading "Inge Morath: Road to Reno." Many of Inge Morath's on-the-set photographs from The Misfits as well as the stills from other photographers from the Magnum photographic agency were published in The Misfits by Serge Toubiana for Phaidon Press. by Frank Miller

Trivia - The Misfits - Trivia & Fun Facts About THE MISFITS


United Artists sold the film with the taglines "'SMASHING' thru the Excitement Barrier!" and "It shouts and sings with life...explodes with love!"

Because of the many production delays, The Misfits came in at $4.1 million, a very high figure for a black-and-white picture.

At the beginning of production, Marilyn Monroe's entourage consisted of husband Arthur Miller, her press agent, her acting coach, two hairdressers, a make-up man, a seamstress, a body cosmetician, her stand-in, a masseur, a secretary, a wardrobe girl and her personal secretary. Clark Gable, on the other hand, only had one assistant, his friend Lew Smith, who was billed as "dialogue coach."

Monroe's masseur, Ralph Roberts, played a small role as an ambulance driver.

When autograph seekers invaded the film's Reno, Nevada, set, Monroe put on a wig and tried to pass herself off as former 20th Century-Fox rival Mitzi Gaynor.

When Monroe accidentally exposed a breast during a bedroom scene with Clark Gable, she tried to convince director John Huston to print the shot, arguing that it might help sell the picture. She also uttered a surprisingly prophetic comment about censorship: "Gradually they'll let down the censorship -- though probably not in my lifetime."

During a press conference for The Misfits, a reporter asked Monroe what she wore to bed at night. She quipped, "Chanel Number Five!"

While the film was shooting in Nevada, Gable and his wife learned that she was pregnant. She would give birth to his only child, John Clark Gable, after the star's death.

Director John Huston celebrated his 54th birthday during location shooting. Folk singer Burl Ives and comic Mort Sahl flew in to entertain at the party, during which Huston was inducted as an honorary member of the Paiute tribe of Utah.

During filming, Huston took time out to join in a camel race in Virginia City, Nevada. He won, beating famed jockey Billy Pearson, among others.

Huston added another $250 to his $300,000 fee for the film by appearing as an extra in a casino scene.

When a power failure interrupted Huston's gambling at a local hotel one night, he had crew members hook the hotel up to the generators brought in for location shooting.

During one production delay on The Misfits, Gable and Huston took off for a duck hunting trip, but each went to a different location.

The Misfits brought in only $4 million dollars on its initial release. It had cost $4.1 million to make.

Famous Quotes from THE MISFITS

"'Did your husband act toward you with cruelty?'"
"'Yes.'"
"'In what way did this cruelty manifest itself?'"
"'He persistently' -- how does that go again?"
"'He persistently and cruelly ignored my personal wishes and my rights and resorted on several occasions to physical violence against me."
"'He persistently' -- oh, do I have to say that? Why can't I just say, 'He wasn't there?' -- I mean, you could touch him, but he wasn't there." -- Thelma Ritter, as Isabelle Steers, rehearsing Marilyn Monroe, as Roslyn Taber, for the latter's divorce trial.

"One thing about this town, it's always full of interesting strangers." -- Ritter, as Isabelle Steers.

"Well, what do you do with yourself?"
"Just live."
"How does anyone 'just live?'"
"Well, you start by going to sleep. You get up when you feel like it. You scratch yourself. You fry yourself some eggs. You see what kind of a day it is; throw stones at a can, whistle." -- Monroe, as Rosalyn Taber, getting to know Clark Gable, as Gay Langland.

"You're a real beautiful woman. It's almost kind of an honor sittin' next to ya'. That's my true feelin's, Roslyn." -- Gable, as Gay Langland, to Monroe, as Roslyn.

"What makes you so sad? I think you're the saddest girl I ever met."
"No one ever said that to me before. I'm usually told how happy I am."
"That's because you make a man feel happy." -- Gable, as Langland, sympathizing with Monroe.

"Did you ever think about getting married again?"
"Oh, I think about it; never in daylight." -- Monroe and Gable.

"How come you got such trust in your eyes, like you was just born?" -- Montgomery Clift, as Perce Howland, to Monroe.

"So what I want to know...what I want to know is: who do you depend on?"
"I don't know. Maybe all there really is is just the next thing. The next thing that happens. Maybe you're not supposed to remember anybody's promises." -- Clift, as Perce Howland, and Monroe.

"You have the gift for life, Roslyn. The rest of us, we're just looking for a place to hide and watch it all go by." -- Gable.

"What's eating you?"
"Just my life." -- Gable, digging into the angst of Eli Wallach, as Guido.

"I can't make a landing, and I can't get up to God." -- Wallach as Guido.

"Were all dying, aren't we? We're not teaching each other what we really know, are we?" -- Monroe.

"She wasn't like any other woman. Stood by me 100 percent, uncomplaining as a tree."
"Maybe that's what killed her." -- Wallach, telling Monroe about his late wife.

"Honey, we've all got to go sometime, reason or no reason. Dying's as natural as living; man who's afraid to die is too afraid to live, far as I've ever seen. So there's nothing to do but forget it, that's all. Seems to me." -- Gable, to Monroe.

"Honey, nothing can live unless something dies." -- Gable.

"She's crazy. They're all crazy. You try not to believe that because you need them. She's crazy! You struggle, you build, you try, you turn yourself inside out for them. But it's never enough. So they put the spurs to you. I know, I've got the marks. I know this racket, I just forgot what I knew for a little while." -- Wallach, condemning Monroe and all women.

"Killers! Murderers! You liars! All of you liars! You're only happy when you can see something die! Why don't you kill yourself to be happy! You and your God's country! Freedom! I am not kidding you, you're three sweet damned men!" -- Monroe, railing at the men for selling wild horses for dog food.

"Don't want nobody makin' up my mind for me, that's all. Damn 'em all! They changed it, changed it all around. Smeared it all over with blood. I'm finished with it. It's, it's like, like ropin' a dream now. I just gotta find another way to be alive, that's all. If there is one anymore. Perce, cut that mare loose for me, will ya?" -- Gable, giving in to Monroe's demands on his own terms.

"How do you find your way back in the dark?"

"Just head for that big star. It will take you home." -- Monroe and Gable, at the end of the last film either would complete.

Compiled by Frank Miller

Trivia - The Misfits - Trivia & Fun Facts About THE MISFITS

United Artists sold the film with the taglines "'SMASHING' thru the Excitement Barrier!" and "It shouts and sings with life...explodes with love!" Because of the many production delays, The Misfits came in at $4.1 million, a very high figure for a black-and-white picture. At the beginning of production, Marilyn Monroe's entourage consisted of husband Arthur Miller, her press agent, her acting coach, two hairdressers, a make-up man, a seamstress, a body cosmetician, her stand-in, a masseur, a secretary, a wardrobe girl and her personal secretary. Clark Gable, on the other hand, only had one assistant, his friend Lew Smith, who was billed as "dialogue coach." Monroe's masseur, Ralph Roberts, played a small role as an ambulance driver. When autograph seekers invaded the film's Reno, Nevada, set, Monroe put on a wig and tried to pass herself off as former 20th Century-Fox rival Mitzi Gaynor. When Monroe accidentally exposed a breast during a bedroom scene with Clark Gable, she tried to convince director John Huston to print the shot, arguing that it might help sell the picture. She also uttered a surprisingly prophetic comment about censorship: "Gradually they'll let down the censorship -- though probably not in my lifetime." During a press conference for The Misfits, a reporter asked Monroe what she wore to bed at night. She quipped, "Chanel Number Five!" While the film was shooting in Nevada, Gable and his wife learned that she was pregnant. She would give birth to his only child, John Clark Gable, after the star's death. Director John Huston celebrated his 54th birthday during location shooting. Folk singer Burl Ives and comic Mort Sahl flew in to entertain at the party, during which Huston was inducted as an honorary member of the Paiute tribe of Utah. During filming, Huston took time out to join in a camel race in Virginia City, Nevada. He won, beating famed jockey Billy Pearson, among others. Huston added another $250 to his $300,000 fee for the film by appearing as an extra in a casino scene. When a power failure interrupted Huston's gambling at a local hotel one night, he had crew members hook the hotel up to the generators brought in for location shooting. During one production delay on The Misfits, Gable and Huston took off for a duck hunting trip, but each went to a different location. The Misfits brought in only $4 million dollars on its initial release. It had cost $4.1 million to make. Famous Quotes from THE MISFITS "'Did your husband act toward you with cruelty?'" "'Yes.'" "'In what way did this cruelty manifest itself?'" "'He persistently' -- how does that go again?" "'He persistently and cruelly ignored my personal wishes and my rights and resorted on several occasions to physical violence against me." "'He persistently' -- oh, do I have to say that? Why can't I just say, 'He wasn't there?' -- I mean, you could touch him, but he wasn't there." -- Thelma Ritter, as Isabelle Steers, rehearsing Marilyn Monroe, as Roslyn Taber, for the latter's divorce trial. "One thing about this town, it's always full of interesting strangers." -- Ritter, as Isabelle Steers. "Well, what do you do with yourself?" "Just live." "How does anyone 'just live?'" "Well, you start by going to sleep. You get up when you feel like it. You scratch yourself. You fry yourself some eggs. You see what kind of a day it is; throw stones at a can, whistle." -- Monroe, as Rosalyn Taber, getting to know Clark Gable, as Gay Langland. "You're a real beautiful woman. It's almost kind of an honor sittin' next to ya'. That's my true feelin's, Roslyn." -- Gable, as Gay Langland, to Monroe, as Roslyn. "What makes you so sad? I think you're the saddest girl I ever met." "No one ever said that to me before. I'm usually told how happy I am." "That's because you make a man feel happy." -- Gable, as Langland, sympathizing with Monroe. "Did you ever think about getting married again?" "Oh, I think about it; never in daylight." -- Monroe and Gable. "How come you got such trust in your eyes, like you was just born?" -- Montgomery Clift, as Perce Howland, to Monroe. "So what I want to know...what I want to know is: who do you depend on?" "I don't know. Maybe all there really is is just the next thing. The next thing that happens. Maybe you're not supposed to remember anybody's promises." -- Clift, as Perce Howland, and Monroe. "You have the gift for life, Roslyn. The rest of us, we're just looking for a place to hide and watch it all go by." -- Gable. "What's eating you?" "Just my life." -- Gable, digging into the angst of Eli Wallach, as Guido. "I can't make a landing, and I can't get up to God." -- Wallach as Guido. "Were all dying, aren't we? We're not teaching each other what we really know, are we?" -- Monroe. "She wasn't like any other woman. Stood by me 100 percent, uncomplaining as a tree." "Maybe that's what killed her." -- Wallach, telling Monroe about his late wife. "Honey, we've all got to go sometime, reason or no reason. Dying's as natural as living; man who's afraid to die is too afraid to live, far as I've ever seen. So there's nothing to do but forget it, that's all. Seems to me." -- Gable, to Monroe. "Honey, nothing can live unless something dies." -- Gable. "She's crazy. They're all crazy. You try not to believe that because you need them. She's crazy! You struggle, you build, you try, you turn yourself inside out for them. But it's never enough. So they put the spurs to you. I know, I've got the marks. I know this racket, I just forgot what I knew for a little while." -- Wallach, condemning Monroe and all women. "Killers! Murderers! You liars! All of you liars! You're only happy when you can see something die! Why don't you kill yourself to be happy! You and your God's country! Freedom! I am not kidding you, you're three sweet damned men!" -- Monroe, railing at the men for selling wild horses for dog food. "Don't want nobody makin' up my mind for me, that's all. Damn 'em all! They changed it, changed it all around. Smeared it all over with blood. I'm finished with it. It's, it's like, like ropin' a dream now. I just gotta find another way to be alive, that's all. If there is one anymore. Perce, cut that mare loose for me, will ya?" -- Gable, giving in to Monroe's demands on his own terms. "How do you find your way back in the dark?" "Just head for that big star. It will take you home." -- Monroe and Gable, at the end of the last film either would complete. Compiled by Frank Miller

The Big Idea - The Misfits


The idea for The Misfits originated when playwright Arthur Miller was forced to live in Reno, Nevada, for six weeks to establish residency so he could divorce his first wife, Mary Grace Slattery, and marry Marilyn Monroe. While there, he met a group of modern-day cowboys who supported themselves by catching wild horses to sell to dog food companies. The parallel between the two endangered species -- the cowboys and the horses -- inspired a short story called "The Misfits" that he sold to Esquire Magazine.

Wanting to make a film with new wife Monroe, he expanded the story into what he called a "cinematic novel," focusing on a divorcée who had been only a tangential character in the original story. He sent the novelization to director John Huston, who pronounced it "magnificent" and brought Miller to his Irish estate to work on the screenplay.

Monroe and Huston would receive the same fee for The Misfits - $300,000. Huston also got a $50,000 gambling allowance for the location shoot in Nevada.

Miller enlisted his friend Frank Taylor, editorial director of Dell Books, to produce the film.

Taylor and Miller first offered The Misfits to 20th Century-Fox, where Monroe was still under contract. Studio president Spyros Skouras considered it too highbrow but got his cousin, Max Youngstein, to bankroll it through his Seven Arts Productions, then distribute it through United Artists.

Huston's first choice to play aging cowboy Gay Langland was Robert Mitchum, whom he had directed in Heaven Knows, Mr. Allison (1957). When he read the script, however, Mitchum didn't understand it at all. Having endured Huston's lack of concern for his actors' comfort or safety on the earlier film, he feared the horse-roping scenes would be more than he wanted to go through. He turned down the role and told his secretary that if Huston called for him, she should "Tell him I died." (Mitchum quoted in Lee Server, Robert Mitchum: "Baby, I Don't Care")

Clark Gable was on vacation in Italy when his agent -- George Chasin, who also represented Miller, Monroe and Taylor -- sent him the script. Although moved by the writing, he didn't really understand it, but he was flattered at being offered such an intellectual script.

Against the advice of his friends, who thought the role too physically demanding and a bad fit for the actor, Gable agreed to do the film. One of his friends suggested the reason he did the movie was the paycheck. At $750,000 and ten percent of the gross, it was more than he had ever been offered for a film. In addition, Gable was planning to make only two more films before retiring, and he wanted one of them to be a great film. He sincerely hoped that The Misfits would be that film.

Gable insisted on some strict provisions in his contract. Not one line of the script could be changed without his approval. He worked a nine-to-five day and if the film went over schedule, he would be paid an additional $48,000 a week.

In interviews after the announcement of his casting, Gable told one reporter that the film was "about people who sell their work, but not their lives."

Gable went on a crash diet to lose 35 pounds before The Misfits's March 3, 1960 start date.

Many who knew of Miller's friendship with Montgomery Clift thought the playwright had written the role of broken-down rodeo rider Perce Howland with the actor in mind. In particular, the character's phone call to his mother, in which he warns her that she won't recognize him after an accident in the rodeo, bore an eerie similarity to the change in the actor's life after a near-fatal auto accident during the shooting of Raintree County (1957) destroyed his famously handsome face.

Clift had some doubts about the script and sent it to his friend, comic actress Nancy Walker, who told him he had to do it. When he started picking the script apart, the two got into a screaming argument. Then he accepted the role.

Gable was leery of the film's New York actors -- Clift, Eli Wallach and Kevin McCarthy -- who were known for their "Method acting." They, in turn, weren't sure what to expect from a legendary movie star like Gable. Taylor's wife, Nan, broke the ice for them by throwing a dinner party for the cast shortly before location shooting started. The New York actors arrived first and made some disparaging comments about their leading man. Then Gable and his wife arrived, deliberately late (the actor was noted for his punctuality). After making a grand entrance, he held court, but also impressed the rest of the cast with his appreciation of the script. He also expressed interest in Clift's working methods. When Clift asked him how he approached a role, Gable replied, "I bring to it everything I have been, everything I am, and everything I hope to be." That won the Method actors over.

As Miller developed his script, he added details from Monroe's past and their lives together. When her character prepares for her divorce hearing, the lines are lifted from the divorce plea she had filed against second husband Joe DiMaggio. To make matters worse, however, the script began to reflect Miller's growing disenchantment with his wife, with scenes and lines that depicted the character's neediness and insecurity. Some of the speeches in which Wallach's character, Guido, criticizes Monroe's Roslyn could have been read as Miller's personal assessment of his wife.

by Frank Miller

Sources:
Donald Spotto, Marilyn Monroe: The Biography
Lee Server, Robert Mitchum: Baby, I Don't Care
Lyn Tournabene, Long Live the King: A Biography of Clark Gable

The Big Idea - The Misfits

The idea for The Misfits originated when playwright Arthur Miller was forced to live in Reno, Nevada, for six weeks to establish residency so he could divorce his first wife, Mary Grace Slattery, and marry Marilyn Monroe. While there, he met a group of modern-day cowboys who supported themselves by catching wild horses to sell to dog food companies. The parallel between the two endangered species -- the cowboys and the horses -- inspired a short story called "The Misfits" that he sold to Esquire Magazine. Wanting to make a film with new wife Monroe, he expanded the story into what he called a "cinematic novel," focusing on a divorcée who had been only a tangential character in the original story. He sent the novelization to director John Huston, who pronounced it "magnificent" and brought Miller to his Irish estate to work on the screenplay. Monroe and Huston would receive the same fee for The Misfits - $300,000. Huston also got a $50,000 gambling allowance for the location shoot in Nevada. Miller enlisted his friend Frank Taylor, editorial director of Dell Books, to produce the film. Taylor and Miller first offered The Misfits to 20th Century-Fox, where Monroe was still under contract. Studio president Spyros Skouras considered it too highbrow but got his cousin, Max Youngstein, to bankroll it through his Seven Arts Productions, then distribute it through United Artists. Huston's first choice to play aging cowboy Gay Langland was Robert Mitchum, whom he had directed in Heaven Knows, Mr. Allison (1957). When he read the script, however, Mitchum didn't understand it at all. Having endured Huston's lack of concern for his actors' comfort or safety on the earlier film, he feared the horse-roping scenes would be more than he wanted to go through. He turned down the role and told his secretary that if Huston called for him, she should "Tell him I died." (Mitchum quoted in Lee Server, Robert Mitchum: "Baby, I Don't Care") Clark Gable was on vacation in Italy when his agent -- George Chasin, who also represented Miller, Monroe and Taylor -- sent him the script. Although moved by the writing, he didn't really understand it, but he was flattered at being offered such an intellectual script. Against the advice of his friends, who thought the role too physically demanding and a bad fit for the actor, Gable agreed to do the film. One of his friends suggested the reason he did the movie was the paycheck. At $750,000 and ten percent of the gross, it was more than he had ever been offered for a film. In addition, Gable was planning to make only two more films before retiring, and he wanted one of them to be a great film. He sincerely hoped that The Misfits would be that film. Gable insisted on some strict provisions in his contract. Not one line of the script could be changed without his approval. He worked a nine-to-five day and if the film went over schedule, he would be paid an additional $48,000 a week. In interviews after the announcement of his casting, Gable told one reporter that the film was "about people who sell their work, but not their lives." Gable went on a crash diet to lose 35 pounds before The Misfits's March 3, 1960 start date. Many who knew of Miller's friendship with Montgomery Clift thought the playwright had written the role of broken-down rodeo rider Perce Howland with the actor in mind. In particular, the character's phone call to his mother, in which he warns her that she won't recognize him after an accident in the rodeo, bore an eerie similarity to the change in the actor's life after a near-fatal auto accident during the shooting of Raintree County (1957) destroyed his famously handsome face. Clift had some doubts about the script and sent it to his friend, comic actress Nancy Walker, who told him he had to do it. When he started picking the script apart, the two got into a screaming argument. Then he accepted the role. Gable was leery of the film's New York actors -- Clift, Eli Wallach and Kevin McCarthy -- who were known for their "Method acting." They, in turn, weren't sure what to expect from a legendary movie star like Gable. Taylor's wife, Nan, broke the ice for them by throwing a dinner party for the cast shortly before location shooting started. The New York actors arrived first and made some disparaging comments about their leading man. Then Gable and his wife arrived, deliberately late (the actor was noted for his punctuality). After making a grand entrance, he held court, but also impressed the rest of the cast with his appreciation of the script. He also expressed interest in Clift's working methods. When Clift asked him how he approached a role, Gable replied, "I bring to it everything I have been, everything I am, and everything I hope to be." That won the Method actors over. As Miller developed his script, he added details from Monroe's past and their lives together. When her character prepares for her divorce hearing, the lines are lifted from the divorce plea she had filed against second husband Joe DiMaggio. To make matters worse, however, the script began to reflect Miller's growing disenchantment with his wife, with scenes and lines that depicted the character's neediness and insecurity. Some of the speeches in which Wallach's character, Guido, criticizes Monroe's Roslyn could have been read as Miller's personal assessment of his wife. by Frank Miller Sources: Donald Spotto, Marilyn Monroe: The Biography Lee Server, Robert Mitchum: Baby, I Don't Care Lyn Tournabene, Long Live the King: A Biography of Clark Gable

Behind the Camera - The Misfits


The Misfits shot on location in Nevada. The bar at which the cowboys hung out was the Styx in Reno, where Miller had met the cowboys who inspired the original story. The rodeo scenes were shot in nearby Dayton, a ghost town, and the horse-roping scenes were shot on a dry lake bed in the desert.

The first problem to affect the film was a postponement of the start date from March to July 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.

Montgomery Clift arrived on location before filming was to begin so he could research his role. While working a rodeo in Pocatello, Idaho, he was bruised on the bridge of his nose. It was exactly the type of injury his character was supposed to have in the film.

Because of Monroe's reputation for lateness, director John Huston had her daily call set for 10 a.m. instead of the customary 9 a.m. but often she was even later.

Contributing to Monroe's lateness was Miller's habit of handing her often complicated re-writes the night or morning before a scene was to be shot. The changes threw her into a panic, making it even harder for the actress to sleep.

Monroe wasn't the only production member who had trouble showing up on time. Huston was often late after spending all night gambling. Clark Gable took it all in stride. He was ready when called and simply waited with his script open to the page being shot that day. When someone asked if the lateness upset him, he said, "No, it doesn't drive me mad. Of course it would be better if we did start. But I'm being paid for it, very handsomely."

To his personal friends, Gable confessed that the production delays bothered him a great deal. "It's stealing," he told screenwriter John Lee Mahin. "It's stealing the banks money and United Artists' money."

Monroe was terrified at the thought of working with Clark Gable. As a child growing up in foster homes and with her single mother, she had slept with Gable's picture under her pillow and fantasized that he was her father. The night before their first scene together, she couldn't sleep without a large dose of Nembutal. As a result, she was two hours late getting to the set. When she apologized to Gable, he simply said, "You're not late, honey," and led her aside to talk. Throughout the filming, he treated her with the same courtesy.

Gable was equally solicitous of Montgomery Clift and so impressed with his talents that he showed up to watch him work even when he himself wasn't called for the day.

The one cast member Gable never warmed to was Eli Wallach. They were so uncomfortable with each other that at first they had trouble remembering lines in their scenes together. Eventually, they developed a grudging respect, though each kidded the other relentlessly. Wallach would jokingly ask, "Hey, King, can you lower my taxes?", while Gable once quipped that they were having boiled ham for lunch in Wallach's honor.

When Gable learned that the film's publicist was ready to quit because Monroe kept skipping or showing up late for on-set interviews, he offered to meet with the press while the publicist got her to the interviews. He not only kept the press happy, but his presence made it easier for Monroe to face the reporters.

While the other actors in The Misfits competed to win director John Huston's approval, Gable saw him more as a rival. Both were known for their masculine escapades -- drinking, hunting, womanizing. The older Gable, settled into his fifth marriage, was at times baffled and annoyed at the director's carousing during filming, particularly his habit of losing large sums of money at the gambling tables and bragging about it.

During filming, Monroe's marriage to Arthur Miller fell apart, partly because of disagreements over the script and her feelings of betrayal over how he had written her character. She also felt he had turned Huston against her, leading him to treat her like an idiot. Within a few weeks of the production's start, they were staying in separate suites. They had stopped speaking by August, with Monroe's acting coach, Paula Strasberg, serving as intercessor. In addition, Miller had begun seeing photographer Inge Morath, who was documenting the production and would become his third wife.

Monroe's sole romantic comfort during the first weeks of filming was her affair with Yves Montand, her co-star in Let's Make Love. Whenever she had a weekend break in filming, she would fly to Los Angeles to see her doctors and Montand. When Hedda Hopper printed a column in which he stated that the romance was just his way of guaranteeing the success of their love scenes in the film, Monroe grew more upset. She knew he was just trying to keep the affair from hurting his wife, actress Simone Signoret, but the words still hurt.

As shooting progressed, Monroe became increasingly dependent upon pills. She had prescriptions flown in every other day by her Los Angeles doctors and received additional medication from local doctors. She was taking three times the normal dosage of the sleeping aid Nembutal. The pills left her disoriented, unsteady on her feet and incoherent. They also led to wild mood swings and rashes.

Like Monroe, Clift had a problem with medication as well, having become dependent upon painkillers and other pills after his automobile accident. Many on the film were concerned about his ability to perform the role, particularly since the first scene he was scheduled to shoot was a long telephone scene in which he calls his mother on a pay phone as the other characters --played by Monroe, Gable, Wallach and Thelma Ritter -- watch in the background. Clift described the shot as an "audition in front of the gods and goddesses of the performing arts," but he pulled it off in one take. That was the moment that won Gable over to his side.

The only problem Gable had with Clift occurred while filming a scene driving to the rodeo. In his excitement, Clift hammered on Gable's back, and the King asked him not to do it again, as he had back problems. Even when Gable showed Clift the black and blue marks his blows were causing, it didn't seem to matter. The next time Clift hit him on the back, Gable yelled, "I'm going to hang one on you, you little bastard, if you do that again!" Clift burst into tears.

Huston insisted on using real wild horses for the rodeo scene. The horse Clift had to ride was too wild for the actor, but Huston insisted that he sit on it in the bullpen chute for a close-up. When the horse lost control it threw Clift against the side of the chute, ripping his shirt. That was the take Huston used in the film.

One of the most difficult scenes in The Misfits was a five minute exchange between Monroe and Clift that Huston wanted to shoot in one long take - the longest single take in his entire career. Nobody believed the two actors, notorious for their problems remembering lines, could pull it off. Monroe requested that all strangers be removed from the set beforehand and asked that nobody stand in her line of sight. Each actor was so concerned for the other, however, that they pulled it off in just six tries, giving Huston two perfect takes.

One of Gable's few on-the-set blow-ups occurred during the filming of the horse-roping scenes. When Huston insisted on another take after Gable's stunt double had been injured, the actor walked off the set in disgust.

Gable could have refused to do any of the stunts for The Misfits, but insisted on doing all but the most dangerous shots. He even allowed himself to be dragged behind a truck for 400 feet over the desert floor and chased the truck for repeated takes.

The horse-roping scenes were equally hard for Clift. When the crew forgot to have him put on gloves during the first takes, he had to hold the ropes with his bare hands for the rest of the shoot, leaving his hands raw and bloody.

The Misfits production was shut down in late August when the film exceeded its budget. It took two weeks of meetings with United Artists executives and Los Angeles and New York to get things back on track. Part of the problem was that Huston had exceeded his gambling allowance, so to cover his tracks, he convinced Monroe's doctors to have her hospitalized for her drug problems, even though the production had contributed to them. At least the film's insurance company paid for her treatment.

Location shooting for The Misfits ended in October 1960, after which the crew moved to the Paramount Studios for re-takes.

During the Los Angeles filming, director Henry Hathaway, who had worked with Monroe on Niagara (1953), saw her sobbing outside one of the sound stages. Upset at how the film was turning out, she said, "I just couldn't face having to do another scene with Marilyn Monroe."

On the last day of filming, Miller arrived with five pages of re-writes for an early scene. Gable refused to approve the changes and insisted on a screening of the film the next morning. After The Misfits was finished, he thanked producer Frank Taylor, "I now have two things to be proud of in my career: Gone with the Wind [1939] and this." But he still refused to shoot the new scene.

The Misfits completed filming on November 4, 1960, with a brief re-take of the film's final scene, with Gable and Monroe. The next day, Gable had a heart attack. Eleven days later, he died. Although many felt the physical strain of his role in The Misfits was responsible, Gable's heavy smoking, drinking and grief over the recent death of his friend Ward Bond probably contributed to his early passing as well.

by Frank Miller

Sources:
Donald Spotto, Marilyn Monroe: The Biography
Lee Server, Robert Mitchum: Baby, I Don't Care
Lyn Tournabene, Long Live the King: A Biography of Clark Gable

Behind the Camera - The Misfits

The Misfits shot on location in Nevada. The bar at which the cowboys hung out was the Styx in Reno, where Miller had met the cowboys who inspired the original story. The rodeo scenes were shot in nearby Dayton, a ghost town, and the horse-roping scenes were shot on a dry lake bed in the desert. The first problem to affect the film was a postponement of the start date from March to July 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. Montgomery Clift arrived on location before filming was to begin so he could research his role. While working a rodeo in Pocatello, Idaho, he was bruised on the bridge of his nose. It was exactly the type of injury his character was supposed to have in the film. Because of Monroe's reputation for lateness, director John Huston had her daily call set for 10 a.m. instead of the customary 9 a.m. but often she was even later. Contributing to Monroe's lateness was Miller's habit of handing her often complicated re-writes the night or morning before a scene was to be shot. The changes threw her into a panic, making it even harder for the actress to sleep. Monroe wasn't the only production member who had trouble showing up on time. Huston was often late after spending all night gambling. Clark Gable took it all in stride. He was ready when called and simply waited with his script open to the page being shot that day. When someone asked if the lateness upset him, he said, "No, it doesn't drive me mad. Of course it would be better if we did start. But I'm being paid for it, very handsomely." To his personal friends, Gable confessed that the production delays bothered him a great deal. "It's stealing," he told screenwriter John Lee Mahin. "It's stealing the banks money and United Artists' money." Monroe was terrified at the thought of working with Clark Gable. As a child growing up in foster homes and with her single mother, she had slept with Gable's picture under her pillow and fantasized that he was her father. The night before their first scene together, she couldn't sleep without a large dose of Nembutal. As a result, she was two hours late getting to the set. When she apologized to Gable, he simply said, "You're not late, honey," and led her aside to talk. Throughout the filming, he treated her with the same courtesy. Gable was equally solicitous of Montgomery Clift and so impressed with his talents that he showed up to watch him work even when he himself wasn't called for the day. The one cast member Gable never warmed to was Eli Wallach. They were so uncomfortable with each other that at first they had trouble remembering lines in their scenes together. Eventually, they developed a grudging respect, though each kidded the other relentlessly. Wallach would jokingly ask, "Hey, King, can you lower my taxes?", while Gable once quipped that they were having boiled ham for lunch in Wallach's honor. When Gable learned that the film's publicist was ready to quit because Monroe kept skipping or showing up late for on-set interviews, he offered to meet with the press while the publicist got her to the interviews. He not only kept the press happy, but his presence made it easier for Monroe to face the reporters. While the other actors in The Misfits competed to win director John Huston's approval, Gable saw him more as a rival. Both were known for their masculine escapades -- drinking, hunting, womanizing. The older Gable, settled into his fifth marriage, was at times baffled and annoyed at the director's carousing during filming, particularly his habit of losing large sums of money at the gambling tables and bragging about it. During filming, Monroe's marriage to Arthur Miller fell apart, partly because of disagreements over the script and her feelings of betrayal over how he had written her character. She also felt he had turned Huston against her, leading him to treat her like an idiot. Within a few weeks of the production's start, they were staying in separate suites. They had stopped speaking by August, with Monroe's acting coach, Paula Strasberg, serving as intercessor. In addition, Miller had begun seeing photographer Inge Morath, who was documenting the production and would become his third wife. Monroe's sole romantic comfort during the first weeks of filming was her affair with Yves Montand, her co-star in Let's Make Love. Whenever she had a weekend break in filming, she would fly to Los Angeles to see her doctors and Montand. When Hedda Hopper printed a column in which he stated that the romance was just his way of guaranteeing the success of their love scenes in the film, Monroe grew more upset. She knew he was just trying to keep the affair from hurting his wife, actress Simone Signoret, but the words still hurt. As shooting progressed, Monroe became increasingly dependent upon pills. She had prescriptions flown in every other day by her Los Angeles doctors and received additional medication from local doctors. She was taking three times the normal dosage of the sleeping aid Nembutal. The pills left her disoriented, unsteady on her feet and incoherent. They also led to wild mood swings and rashes. Like Monroe, Clift had a problem with medication as well, having become dependent upon painkillers and other pills after his automobile accident. Many on the film were concerned about his ability to perform the role, particularly since the first scene he was scheduled to shoot was a long telephone scene in which he calls his mother on a pay phone as the other characters --played by Monroe, Gable, Wallach and Thelma Ritter -- watch in the background. Clift described the shot as an "audition in front of the gods and goddesses of the performing arts," but he pulled it off in one take. That was the moment that won Gable over to his side. The only problem Gable had with Clift occurred while filming a scene driving to the rodeo. In his excitement, Clift hammered on Gable's back, and the King asked him not to do it again, as he had back problems. Even when Gable showed Clift the black and blue marks his blows were causing, it didn't seem to matter. The next time Clift hit him on the back, Gable yelled, "I'm going to hang one on you, you little bastard, if you do that again!" Clift burst into tears. Huston insisted on using real wild horses for the rodeo scene. The horse Clift had to ride was too wild for the actor, but Huston insisted that he sit on it in the bullpen chute for a close-up. When the horse lost control it threw Clift against the side of the chute, ripping his shirt. That was the take Huston used in the film. One of the most difficult scenes in The Misfits was a five minute exchange between Monroe and Clift that Huston wanted to shoot in one long take - the longest single take in his entire career. Nobody believed the two actors, notorious for their problems remembering lines, could pull it off. Monroe requested that all strangers be removed from the set beforehand and asked that nobody stand in her line of sight. Each actor was so concerned for the other, however, that they pulled it off in just six tries, giving Huston two perfect takes. One of Gable's few on-the-set blow-ups occurred during the filming of the horse-roping scenes. When Huston insisted on another take after Gable's stunt double had been injured, the actor walked off the set in disgust. Gable could have refused to do any of the stunts for The Misfits, but insisted on doing all but the most dangerous shots. He even allowed himself to be dragged behind a truck for 400 feet over the desert floor and chased the truck for repeated takes. The horse-roping scenes were equally hard for Clift. When the crew forgot to have him put on gloves during the first takes, he had to hold the ropes with his bare hands for the rest of the shoot, leaving his hands raw and bloody. The Misfits production was shut down in late August when the film exceeded its budget. It took two weeks of meetings with United Artists executives and Los Angeles and New York to get things back on track. Part of the problem was that Huston had exceeded his gambling allowance, so to cover his tracks, he convinced Monroe's doctors to have her hospitalized for her drug problems, even though the production had contributed to them. At least the film's insurance company paid for her treatment. Location shooting for The Misfits ended in October 1960, after which the crew moved to the Paramount Studios for re-takes. During the Los Angeles filming, director Henry Hathaway, who had worked with Monroe on Niagara (1953), saw her sobbing outside one of the sound stages. Upset at how the film was turning out, she said, "I just couldn't face having to do another scene with Marilyn Monroe." On the last day of filming, Miller arrived with five pages of re-writes for an early scene. Gable refused to approve the changes and insisted on a screening of the film the next morning. After The Misfits was finished, he thanked producer Frank Taylor, "I now have two things to be proud of in my career: Gone with the Wind [1939] and this." But he still refused to shoot the new scene. The Misfits completed filming on November 4, 1960, with a brief re-take of the film's final scene, with Gable and Monroe. The next day, Gable had a heart attack. Eleven days later, he died. Although many felt the physical strain of his role in The Misfits was responsible, Gable's heavy smoking, drinking and grief over the recent death of his friend Ward Bond probably contributed to his early passing as well. by Frank Miller Sources: Donald Spotto, Marilyn Monroe: The Biography Lee Server, Robert Mitchum: Baby, I Don't Care Lyn Tournabene, Long Live the King: A Biography of Clark Gable

The Misfits


"I have a sense that we are all moving into one of those rare productions when everything touched becomes alive."
Arthur Miller

Arthur Miller couldn't have been further from the truth when he wrote those words during the early days of bringing The Misfits (1961) to the screen. The tortured production -- once a classic flop, now considered a minor classic -- marked the last completed film for both of its stars, Marilyn Monroe and Clark Gable. And the debate continues as to whether the film led to Gable's death from a heart attack at the still-young age of 59.

The Misfits began life as a 1957 short story in which Miller combined his memories of the modern-day cowboys he met while in Reno to divorce his first wife and his feelings about his second wife, Monroe, who initially struck him as a pure creature intimately connected to the spirit of life. In search of a project that would allow the newlyweds to work together, they pitched a film version to United Artists. They offered the script to director John Huston, who accepted with a one-word cable, "Magnificent." Huston wanted Robert Mitchum to star as the washed-out cowboy who becomes involved with a sensitive divorcee in Reno and takes her along on a job to catch wild horses for a dog food company. Unfortunately, Mitchum considered the script incomprehensible and dodged Huston's phone calls until Clark Gable was cast. When he finally spoke to the director, he warned him about Gable's age and health: "You get him at the end of a rope, fighting those horses, and that's going to be the end of him."

The damage may have been done before the horses even entered the picture, however. Because of Monroe's commitment to make the musical Let's Make Love (1960), production couldn't start until July 1960, when the Nevada locations were baked by temperatures climbing to 120 degrees each day. Delays caused by Monroe's habitual lateness didn't help either. Because of her sleeping problems, Monroe rarely was called before 11 a.m., and usually showed up later than that. In her defense, however, she also had to stay up into the small hours trying to learn Miller's many script changes while trying to deal with the effects of her numerous pain and sleeping medications. Though he often resented her lateness, Gable went out of his way to help her through the shoot, enduring retakes while she tried to focus on the lines and praising her work at every opportunity.

Compounding Monroe's problems was the fact that the film, conceived while she and Miller were still in the full flush of first love, was filmed as their marriage was falling apart. During shooting, she moved out of their shared hotel room to stay with her acting coach, Paula Strasberg. Moreover, she was heartbroken that a role she had seen as her chance to prove that she could play something other than "Marilyn Monroe" was being re-written to include embarrassing elements from her personal life, including references to her mother's mental problems and the failure of her marriage to baseball legend Joe DiMaggio. Even Gable's casting contributed to the autobiographical elements of the film. Miller knew she had idolized "The King" during her childhood, often fantasizing that he was her father.

Huston played his own part in the production problems. He was already developing emphysema after decades of heavy smoking, and several days were lost when he was too sick to work. And location shooting in the only U.S. state with legal gambling was a huge mistake for him; he was usually up in the casinos until five in the morning and kept falling asleep in the director's chair during filming. United Artists had given him a gambling allowance. When his losses exceeded that, he had to shut down production for a week to find the money. So he convinced Monroe's psychiatrist and doctor to put her in a Los Angeles hospital for a week to deal with her drug dependency, thereby making her bear the blame for the production shutdown he had caused.

The most grueling scenes in the film were those near the end in which Gable and two other cowboys (Montgomery Clift and Eli Wallach) capture wild horses in the desert and break their leader. Rumors at the time suggested that the scenes trying to hold back the lead horse contributed to Gable's heart problems, but a close study of the film reveals that most of these were done through careful cutting. Gable is rarely in the same shot as the horse. He did, however, have to shoot a scene in which the horse drags him across the desert floor. He was actually holding a rope attached to a truck, with the camera in the bed. But even though he was heavily padded, he came home from the day's shooting a bloody mess. He tried to lie to his wife that it had just been an accident, but she knew better, telling him he was out of his mind.

The film finished shooting with studio work in Hollywood, but Gable was already too sick to attend the wrap party on November 4. He suffered a heart attack on the sixth and died ten days later. In a sorrowful interview, Monroe wondered if she'd contributed to his ill health, while gossip columnist Hedda Hopper blamed it on Huston. Few at the time even considered his three-pack-a-day smoking habit or his grief over the death of good friend Ward Bond just days earlier.

Since Huston had shot in sequence and cut the film as they went along, Gable had already seen his performance before he took ill and felt it was his best acting ever. With his death, United Artists tried to get the film completed in time for the 1960 Academy Awards®, hoping he would snare a posthumous nomination. But when composer Alex North protested that he couldn't possibly get the picture scored that quickly, Huston had to agree. The release was pushed back to a more reasonable February 1 date, when it fared poorly with critics and audiences. Over time, however, the film has gained a special luster, particularly when Monroe died two years later without having finished another picture. Today, The Misfits is considered a minor classic, with special interest as an example of the loss of traditional values in the modern Western, as one of Huston's trademark celebrations of a team of charismatic losers and as the last film from two of Hollywood's greatest stars.

Producer: Frank E. Taylor
Director: John Huston
Screenplay: Arthur Miller
Based on a Short Story by Miller
Cinematography: Russell Metty
Art Direction: Stephen Grimes, William Newberry
Music: Alex North
Principal Cast: Clark Gable (Gay Langland), Marilyn Monroe (Roslyn Taber), Montgomery Clift (Perce Howland), Thelma Ritter (Isabelle Steers), Eli Wallach (Guido), Estelle Winwood (Church Lady), Kevin McCarthy (Raymond Taber), Marietta Tree (Susan).
BW-125m. Letterboxed.

by Frank Miller

The Misfits

"I have a sense that we are all moving into one of those rare productions when everything touched becomes alive." Arthur Miller Arthur Miller couldn't have been further from the truth when he wrote those words during the early days of bringing The Misfits (1961) to the screen. The tortured production -- once a classic flop, now considered a minor classic -- marked the last completed film for both of its stars, Marilyn Monroe and Clark Gable. And the debate continues as to whether the film led to Gable's death from a heart attack at the still-young age of 59. The Misfits began life as a 1957 short story in which Miller combined his memories of the modern-day cowboys he met while in Reno to divorce his first wife and his feelings about his second wife, Monroe, who initially struck him as a pure creature intimately connected to the spirit of life. In search of a project that would allow the newlyweds to work together, they pitched a film version to United Artists. They offered the script to director John Huston, who accepted with a one-word cable, "Magnificent." Huston wanted Robert Mitchum to star as the washed-out cowboy who becomes involved with a sensitive divorcee in Reno and takes her along on a job to catch wild horses for a dog food company. Unfortunately, Mitchum considered the script incomprehensible and dodged Huston's phone calls until Clark Gable was cast. When he finally spoke to the director, he warned him about Gable's age and health: "You get him at the end of a rope, fighting those horses, and that's going to be the end of him." The damage may have been done before the horses even entered the picture, however. Because of Monroe's commitment to make the musical Let's Make Love (1960), production couldn't start until July 1960, when the Nevada locations were baked by temperatures climbing to 120 degrees each day. Delays caused by Monroe's habitual lateness didn't help either. Because of her sleeping problems, Monroe rarely was called before 11 a.m., and usually showed up later than that. In her defense, however, she also had to stay up into the small hours trying to learn Miller's many script changes while trying to deal with the effects of her numerous pain and sleeping medications. Though he often resented her lateness, Gable went out of his way to help her through the shoot, enduring retakes while she tried to focus on the lines and praising her work at every opportunity. Compounding Monroe's problems was the fact that the film, conceived while she and Miller were still in the full flush of first love, was filmed as their marriage was falling apart. During shooting, she moved out of their shared hotel room to stay with her acting coach, Paula Strasberg. Moreover, she was heartbroken that a role she had seen as her chance to prove that she could play something other than "Marilyn Monroe" was being re-written to include embarrassing elements from her personal life, including references to her mother's mental problems and the failure of her marriage to baseball legend Joe DiMaggio. Even Gable's casting contributed to the autobiographical elements of the film. Miller knew she had idolized "The King" during her childhood, often fantasizing that he was her father. Huston played his own part in the production problems. He was already developing emphysema after decades of heavy smoking, and several days were lost when he was too sick to work. And location shooting in the only U.S. state with legal gambling was a huge mistake for him; he was usually up in the casinos until five in the morning and kept falling asleep in the director's chair during filming. United Artists had given him a gambling allowance. When his losses exceeded that, he had to shut down production for a week to find the money. So he convinced Monroe's psychiatrist and doctor to put her in a Los Angeles hospital for a week to deal with her drug dependency, thereby making her bear the blame for the production shutdown he had caused. The most grueling scenes in the film were those near the end in which Gable and two other cowboys (Montgomery Clift and Eli Wallach) capture wild horses in the desert and break their leader. Rumors at the time suggested that the scenes trying to hold back the lead horse contributed to Gable's heart problems, but a close study of the film reveals that most of these were done through careful cutting. Gable is rarely in the same shot as the horse. He did, however, have to shoot a scene in which the horse drags him across the desert floor. He was actually holding a rope attached to a truck, with the camera in the bed. But even though he was heavily padded, he came home from the day's shooting a bloody mess. He tried to lie to his wife that it had just been an accident, but she knew better, telling him he was out of his mind. The film finished shooting with studio work in Hollywood, but Gable was already too sick to attend the wrap party on November 4. He suffered a heart attack on the sixth and died ten days later. In a sorrowful interview, Monroe wondered if she'd contributed to his ill health, while gossip columnist Hedda Hopper blamed it on Huston. Few at the time even considered his three-pack-a-day smoking habit or his grief over the death of good friend Ward Bond just days earlier. Since Huston had shot in sequence and cut the film as they went along, Gable had already seen his performance before he took ill and felt it was his best acting ever. With his death, United Artists tried to get the film completed in time for the 1960 Academy Awards®, hoping he would snare a posthumous nomination. But when composer Alex North protested that he couldn't possibly get the picture scored that quickly, Huston had to agree. The release was pushed back to a more reasonable February 1 date, when it fared poorly with critics and audiences. Over time, however, the film has gained a special luster, particularly when Monroe died two years later without having finished another picture. Today, The Misfits is considered a minor classic, with special interest as an example of the loss of traditional values in the modern Western, as one of Huston's trademark celebrations of a team of charismatic losers and as the last film from two of Hollywood's greatest stars. Producer: Frank E. Taylor Director: John Huston Screenplay: Arthur Miller Based on a Short Story by Miller Cinematography: Russell Metty Art Direction: Stephen Grimes, William Newberry Music: Alex North Principal Cast: Clark Gable (Gay Langland), Marilyn Monroe (Roslyn Taber), Montgomery Clift (Perce Howland), Thelma Ritter (Isabelle Steers), Eli Wallach (Guido), Estelle Winwood (Church Lady), Kevin McCarthy (Raymond Taber), Marietta Tree (Susan). BW-125m. Letterboxed. by Frank Miller

Critics' Corner - The Misfits


AWARDS & HONORS

Although both Marilyn Monroe and Clark Gable had great hopes that their performances in The Misfits would win them dramatic accolades, the film was completely ignored in that year's Oscar® race.

John Huston received a Directors Guild nomination for his work on The Misfits, but lost to Robert Wise and Jerome Robbins for West Side Story (1961).

In 1993, The Misfits's depiction of the capture of wild mustangs for sale to dog food companies won it a classic film award in The Fund for Animals' Genesis Awards.

THE CRITICS' CORNER - THE MISFITS

"....Characters and theme do not congeal. There is a lot of absorbing detail in it, but it doesn't add up to a point. Mr. Huston's direction is dynamic, inventive and colorful. Mr. Gable is ironically vital. (He died a few weeks after shooting was done.) Miss Ritter, James Barton and Estelle Winwood are amusing in very minor roles, and Alex North has provided some good theme music. But the picture just doesn't come off."
- Bosley Crowther, The New York Times

"A superbly shot anti-Western, constantly dragged down by Arthur Miller's verbose, cloyingly glib script about emotional cripples searching for a meaning to life in the twilight of the American frontier....it really comes good only in the mustang round-up at the end, an overly symbolic but nevertheless magnificent sequence."
- Tom Milne, TimeOut Film Guide

"The theme with its implications of an essentially male savagery suits Mr. Huston, and he has drawn extraordinary qualities from all his chief players."
- Dilys Powell

"Ill-fated melodrama....pretentious film which seldom stops wallowing in self-pity."
- Halliwell's Film & Video Guide

"The Misfits is essentially a life portrait of Marilyn Monroe...but its theme is also a demystification of the great American dreams of success and the West."
- Georges Sadoul, Dictionary of Films

"The superbly shot sequences of rodeo riding and particularly of the pursuit and roping of wild mustangs were outstanding visual set pieces in contrast to Arthur Miller's copious dialogue and lachrymose philosophy."
- The Oxford Companion to Film

"...it is not the classic that it should have been....Like many Huston films, this picture contains Hemingway themes and characters; also the distinct European ambiance in the early group scenes is like something out of The Sun Also Rises. Miller's script is overwritten, without being insightful. It's full of gloom and doom; the mustang scene is truly unpleasant to watch....Monroe was having tremendous psychological problems during the filming, so it's amazing what a wonderful performance she gives....I'd like to think that this role comes closest to the real Marilyn Monroe."
- Danny Peary, Guide for the Film Fanatic

"The making of this film had more melodrama than the Christmas edition of most soaps but it is, at times, quite beautiful in a very melancholy way. Miller didn't really believe in the happy ending; nor do we."
- The Rough Guide to Cult Movies

"Unsatisfying but engrossing parable....."
- Leonard Maltin's Movie Guide

"At face value, The Misfits, is a robust, high-voltage adventure drama, vibrating with explosively emotional histrionics, conceived and executed with a refreshing disdain for superficial technical and photographic slickness in favor of an uncommonly honest and direct cinematic approach. Within this framework, however, lurks a complex mass of introspective conflicts, symbolic parallels and motivational contradictions, the nuances of which may seriously confound general audiences"
- Variety

"An erratic, sometimes personal in the wrong way, and generally unlucky picture that is often affecting. Arthur Miller wrote the screenplay...about contemporary cowboys -- "misfits" in the film's symbolism -- who hunt down wild horses and sell them to be butchered for dog food. Marilyn Monroe is the lonely, emotionally unstable divorcée who is deeply upset by the men's determination to capture the horses. Monroe has never worked her vulnerability so fulsomely before; the film has an uncomfortable element of fake psychodrama -- she's pushy about her own sensitivity....If there is a right tone in which to ply the Miller script, the director, John Huston, doesn't find it."
- Pauline Kael, 5,001 Nights at the Movies

"The Misfits became a landmark after its 1961 release -- but for the wrong reasons. It was the final film that both Marilyn Monroe and Clark Gable starred in, the latter succumbing to a heart attack aged just 59 only eight days after the shoot ended. The film's already poignant subject - the passing of a way of life - was therefore given a remarkable extra edge of sadness and tragedy."
- Daniel Etherington, Channel 4 Films

"A disturbing but captivating film about modern cowboys who have lost their purpose in a world that has robbed them of the West into which they were born. The Misfits was Gable's and Monroe's last film....Many have called this film a brilliant mood piece of a dying Old West; that doesn't make it a masterpiece, but the ghosts of its cast still haunt one's viewing experience."
- TV Guide

Compiled by Frank Miller & Jeff Stafford

Critics' Corner - The Misfits

AWARDS & HONORS Although both Marilyn Monroe and Clark Gable had great hopes that their performances in The Misfits would win them dramatic accolades, the film was completely ignored in that year's Oscar® race. John Huston received a Directors Guild nomination for his work on The Misfits, but lost to Robert Wise and Jerome Robbins for West Side Story (1961). In 1993, The Misfits's depiction of the capture of wild mustangs for sale to dog food companies won it a classic film award in The Fund for Animals' Genesis Awards. THE CRITICS' CORNER - THE MISFITS "....Characters and theme do not congeal. There is a lot of absorbing detail in it, but it doesn't add up to a point. Mr. Huston's direction is dynamic, inventive and colorful. Mr. Gable is ironically vital. (He died a few weeks after shooting was done.) Miss Ritter, James Barton and Estelle Winwood are amusing in very minor roles, and Alex North has provided some good theme music. But the picture just doesn't come off." - Bosley Crowther, The New York Times "A superbly shot anti-Western, constantly dragged down by Arthur Miller's verbose, cloyingly glib script about emotional cripples searching for a meaning to life in the twilight of the American frontier....it really comes good only in the mustang round-up at the end, an overly symbolic but nevertheless magnificent sequence." - Tom Milne, TimeOut Film Guide "The theme with its implications of an essentially male savagery suits Mr. Huston, and he has drawn extraordinary qualities from all his chief players." - Dilys Powell "Ill-fated melodrama....pretentious film which seldom stops wallowing in self-pity." - Halliwell's Film & Video Guide "The Misfits is essentially a life portrait of Marilyn Monroe...but its theme is also a demystification of the great American dreams of success and the West." - Georges Sadoul, Dictionary of Films "The superbly shot sequences of rodeo riding and particularly of the pursuit and roping of wild mustangs were outstanding visual set pieces in contrast to Arthur Miller's copious dialogue and lachrymose philosophy." - The Oxford Companion to Film "...it is not the classic that it should have been....Like many Huston films, this picture contains Hemingway themes and characters; also the distinct European ambiance in the early group scenes is like something out of The Sun Also Rises. Miller's script is overwritten, without being insightful. It's full of gloom and doom; the mustang scene is truly unpleasant to watch....Monroe was having tremendous psychological problems during the filming, so it's amazing what a wonderful performance she gives....I'd like to think that this role comes closest to the real Marilyn Monroe." - Danny Peary, Guide for the Film Fanatic "The making of this film had more melodrama than the Christmas edition of most soaps but it is, at times, quite beautiful in a very melancholy way. Miller didn't really believe in the happy ending; nor do we." - The Rough Guide to Cult Movies "Unsatisfying but engrossing parable....." - Leonard Maltin's Movie Guide "At face value, The Misfits, is a robust, high-voltage adventure drama, vibrating with explosively emotional histrionics, conceived and executed with a refreshing disdain for superficial technical and photographic slickness in favor of an uncommonly honest and direct cinematic approach. Within this framework, however, lurks a complex mass of introspective conflicts, symbolic parallels and motivational contradictions, the nuances of which may seriously confound general audiences" - Variety "An erratic, sometimes personal in the wrong way, and generally unlucky picture that is often affecting. Arthur Miller wrote the screenplay...about contemporary cowboys -- "misfits" in the film's symbolism -- who hunt down wild horses and sell them to be butchered for dog food. Marilyn Monroe is the lonely, emotionally unstable divorcée who is deeply upset by the men's determination to capture the horses. Monroe has never worked her vulnerability so fulsomely before; the film has an uncomfortable element of fake psychodrama -- she's pushy about her own sensitivity....If there is a right tone in which to ply the Miller script, the director, John Huston, doesn't find it." - Pauline Kael, 5,001 Nights at the Movies "The Misfits became a landmark after its 1961 release -- but for the wrong reasons. It was the final film that both Marilyn Monroe and Clark Gable starred in, the latter succumbing to a heart attack aged just 59 only eight days after the shoot ended. The film's already poignant subject - the passing of a way of life - was therefore given a remarkable extra edge of sadness and tragedy." - Daniel Etherington, Channel 4 Films "A disturbing but captivating film about modern cowboys who have lost their purpose in a world that has robbed them of the West into which they were born. The Misfits was Gable's and Monroe's last film....Many have called this film a brilliant mood piece of a dying Old West; that doesn't make it a masterpiece, but the ghosts of its cast still haunt one's viewing experience." - TV Guide Compiled by Frank Miller & Jeff Stafford

Sports Cinema: The Best of Hollywood's Athletic Heroes, Losers, Myths, and Misfits


From All the Right Moves to Olympia, from Caddyshack to Rocky, Hollywood's most memorable sports-oriented movies are celebrated in Sports Cinema: The Best of Hollywood's Athletic Heroes, Losers, Myths, and Misfits by Randy Williams, the latest release from Limelight Editions.Celebrities, including Sylvester Stallone and Spike Lee, also weigh in with their favorites in the book's special "Starting 5" section. It also features nearly 400 striking and original movie stills making it an ideal holiday gift idea for movie collectors and sports movie fans alike.

Beginning with The Freshman (1925), Mr. Williams counts down his top 100 movie picks from more than nine decades, based upon hundreds of hours of film watching and his expertise as a lifelong sports fan and sports writer. Enhancing his chapter-by-chapter explorations of each film are sports-themed sections, including "The Players," which lists cast members; "The Game," which provides a synopsis of each movie; "Instant Replay," which includes movie commentary by Mr. Williams, as well little-known trivia; and "All-Star Moments," which offers movie highlights. Casual moviegoers, sports fans, and film buffs will get "the story behind the film" from those involved, including actors, directors, and various cast members in the "Post-Game Comments" section.

Mr. Williams's credits include producing Sports Nuts, a radio show hosted by Gabe Kaplan and featuring Hollywood celebrities and prominent athletes discussing sports and movies. He also served as Manager of Research for Fox Sports. He has also written for national and international publications, including Sports Illustrated, the Hollywood Reporter, Olympic Review, Reuters, and the Washington Post.

For more information on other books from Amadeus Press, Click Here. To order Sports Cinema: The Best of Hollywood's Athletic Heroes, Losers, Myths, and Misfits, use this link to Barnes and Noble.

Sports Cinema: The Best of Hollywood's Athletic Heroes, Losers, Myths, and Misfits

From All the Right Moves to Olympia, from Caddyshack to Rocky, Hollywood's most memorable sports-oriented movies are celebrated in Sports Cinema: The Best of Hollywood's Athletic Heroes, Losers, Myths, and Misfits by Randy Williams, the latest release from Limelight Editions.Celebrities, including Sylvester Stallone and Spike Lee, also weigh in with their favorites in the book's special "Starting 5" section. It also features nearly 400 striking and original movie stills making it an ideal holiday gift idea for movie collectors and sports movie fans alike. Beginning with The Freshman (1925), Mr. Williams counts down his top 100 movie picks from more than nine decades, based upon hundreds of hours of film watching and his expertise as a lifelong sports fan and sports writer. Enhancing his chapter-by-chapter explorations of each film are sports-themed sections, including "The Players," which lists cast members; "The Game," which provides a synopsis of each movie; "Instant Replay," which includes movie commentary by Mr. Williams, as well little-known trivia; and "All-Star Moments," which offers movie highlights. Casual moviegoers, sports fans, and film buffs will get "the story behind the film" from those involved, including actors, directors, and various cast members in the "Post-Game Comments" section. Mr. Williams's credits include producing Sports Nuts, a radio show hosted by Gabe Kaplan and featuring Hollywood celebrities and prominent athletes discussing sports and movies. He also served as Manager of Research for Fox Sports. He has also written for national and international publications, including Sports Illustrated, the Hollywood Reporter, Olympic Review, Reuters, and the Washington Post. For more information on other books from Amadeus Press, Click Here. To order Sports Cinema: The Best of Hollywood's Athletic Heroes, Losers, Myths, and Misfits, use this link to Barnes and Noble.

Quotes

You're a real beautiful woman. It's almost kind of an honor sittin' next to ya'. That's my true feelin's Roslyn.
- Gay
What makes you so sad? You're the saddest girl I ever met.
- Gay
You're the first man who's ever said that. I'm usually told how happy I am.
- Roslyn
That's because you make a man feel happy.
- Gay
I don't feel that way about you Gay.
- Roslyn
Don't get discouraged girl, you might.
- Gay
Did you ever think about gettin' married again?
- Roslyn
Oh, I think about it; never in daylight.
- Gay
Let's just live.
- Gay
How come you got such trust in your eyes, like you was just born?
- Perce

Trivia

A doctor was on call 24 hours a day for both Marilyn Monroe and Montgomery Clift during the filming.

United Artists executives were unhappy with the rough cut of the film, so director 'Huston, John' , producer Frank E. Taylor, and writer Arthur Miller (I) all agreed to reshoot several scenes. Clark Gable had script approval, however, and he rejected the idea. Other disagreements over the final cut resulted in the elimination of a shot of Marilyn Monroe's naked breast from the bedroom scene.

Bored while waiting for Monroe to turn up on the set, Gable opted to do his own stunts, which included being dragged by a truck traveling at 30 mph.

On the last day of filming, Gable said "Christ, I'm glad this picture's finished. She[Monroe] damn near gave me a heart attack." The next day, Gable suffered a massive heart attack; he died 11 days later.

This was both Clark Gable and Marilyn Monroe's last completed film. As mentioned above, Gable died of a heart attack, and Monroe died of a drug overdose a year later. (Note: While Something's Got to Give (1962) is listed as her last film, it was never completed because Monroe was fired.)

Notes

Location scenes filmed in and around Reno and Dayton, Nevada. The Misfits marked the final film of James Barton, who died on December 19, 1962.

Miscellaneous Notes

Released in United States November 1971

Released in United States Winter February 1961

Montgomery Clift reportedly received $200,000 for his services.

Montgomery Clift reportedly received $200,000 for his services.

Clark Gable's last film.

Gable reportedly got $750,000 plus 10 percent of the gross for his role.

Marilyn Monroe's last completed film.

Released in United States Winter February 1961

Released in United States November 1971 (Shown at FILMEX: Los Angeles International Film Exposition (A Tribute to the American Cinema) November 4-14, 1971.)