Mary Poppins Returns
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All Critics (28)
| Top Critics (3)
| Fresh (28)
| Rotten (0)
| DVD (2)
Gable has never done anything better on the screen, nor has Miss Monroe. Gable's acting is vibrant and lusty, hers true to the character as written by Miller.
A problematic but provocative piece of work.
Marilyn Monroe, the Saint of Nevada Desert. When everything has been said about The Misfits, how bad the film is and all that, she still remains there, a new screen character, MM, the saint. And she haunts you, you'll not forget her.
Talent, controversy and accident have combined to make The Misfits an unusually interesting film if not an outstandingly good one.
Against all odds, [Monroe] gives an extraordinary performance.
Looks even starker and more jarringly isolated today than it did in 1961.
John Huston's latter-day western exerts a doomy, morbid fascination that goes beyond what we see on the screen.
A gripping and messy ode to the collision of genres, time periods, and personalities.
Somehow the flat, arid Nevada landscape mirrors the characters' bleak existence and sets the overall mood of despair and depression.
The faces of Gable, Clift and Monroe together in closeup have a Mount Rushmore look to them.
What a multiple swansong and beautiful accident The Misfits is.
A glorious, brave, imperfect portrait of flawed people yearning for freedom and respect, but pulled by the primal urges of love, lust and pride to trap themselves in cages of their own crafting.
A film most famous for its on-set turmoil, The Misfits marks a tragic period in film history: it was both Marilyn Monroe' and Clark Gable's last film before their respective deaths, and Monty Cliff had just come off of facial reconstruction surgery following his horrific car accident -- not to mention Huston's well documented alcoholism and the imploding marriage between Monroe and Arthur Miller. When reading about all of the behind-the-scenes problems, one has to marvel that the film even got made.
For me, any film that attempts to demystify the myth of the "Old West" will always be judged against the paramount example of that theme, Midnight Cowboy. To that end, The Misfits falls flat in comparison. Monroe's character's moral compass is broadly drawn and shallow, as are the half-baked themes of individual responsibility and class stratification. Huston's direction, as usual, is smart and lean, but that's about it.
The struggle of flawed individuals to find a righteous modus vivendi in an unfair and indifferent world. A sense of unity despite the suffering and hopelessness among the characters touches the heart, even more when you know the actors' lives were mirroring what happens in the screen. They were also heading towards the end, and seemed to be accepting that idea, with heartrending melancholy and not without reluctancy.
This movie is about despair. Despair at the passing of a way of life. Despair at disappointed hopes and dreams. Despair at the loss of a loved one, either through death, divorce or disinterest. Knowing that going in and you don't mind downbeat films there are some really moving performances from a cast full of legends.
Roslyn (Marilyn Monroe) is a more rare bird: flighty and sensuous, beautiful and beaten, she is this world's canary in the coalmine. This is easily Monroe's finest work in a serious role, a tremulous and delicate performance. Gay (Clark Gable) and Roslyn are an unlikely pair, but it is the nature of The Misfits' philosophical fatalism that they are thrust together, their discordant outlooks providing conflict and hinting at thematic resolution.
This was the last hurrah for Monroe and Gable. The acting is good, but the storyline is lean.
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