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Making The Misfits

08 Nov

The Making The Misfits –– directed by Gail Levin –– documentary on the last film of Clark Gable, Marilyn Monroe, Montgomery Clift  — 2001 black and white 2001

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We who were alive at the time, knew a lot about what was going because Marilyn Monroe was such a photographed figure. Her genius was, in fact, for the still picture not the motion picture –– and Eli Wallach says the same. Monroe, Gable, and Clift all died before the film was released. I remember talking to Celeste Holm about it the week it opened; she’d gone to the Roxy to see it, and she said, “You could shoot moose in there.” Because the movie was a coffin? The theatre was empty when I went too. Holm said that Monroe couldn’t act. That’s probably right. In a sense Monroe was prevented from it by the script which makes of her a marshmallow saint whom everyone loves –– which means there was no inherent character defect or inner conflict in the character, nothing for her to play against, no failing to let us in. The film was remarkably photographed and produced, and the producers and their survivors talk about it. What the actors, such as Kevin McCarthy and Eli Wallach, say about their work is fascinating. John Houston was a gallant director, energetic but also lazy. He loved filming horses. The Misfits has a grainy and horizontal quality to it, and is well worth seeing. Its failure lies with Arthur Miller who wrote it; its failure lies not in its characters or situation but in its story. It would have been far more interesting if Monroe’s capacity for atrocious behavior had been an element in that story. Then you might have had something. Too late now, though. This documentary made years later seizes the world of studio filmmaking at it its richest. Scenes of the crew lying around in the hideous heat of Arizona while the demoralizing Monroe was hours late are a testament to the fortitude of the craftsmen whose skills and devotion brought the good strong films of that era before us.

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