Lovesusti The Worst Film Ever

BelSports This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

Anoushka Slater While it doesn't offer any answers, it both thrills and makes you think.

Jakoba True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

garethrleyshon The Misfits tells the story of recently divorced Roslyn (Marilyn Monroe), and the friendship that she develops with car mechanic Guido (Eli Wallach), aging cowboy Gay (Clark Gable) and failing rodeo rider Perce (Montgomery Clift). Centered on how their relationships develop during their time at Guidos house in the Nevada desert and at the Dayton rodeo, these relationships finally become tested when the three men decide to hunt horses to be sold to a dog food manufacturer, much to Roslyns distress.The Misfits essentially is about the way that people inadvertently treat others badly, culminating in the obvious mistreatment of the mustangs, innocent beings in the proceedings. The irony here is The Misfits script was meant as a gift from Arthur Miller to his wife, Monroe; the role of Roslyn being one that Marilyn could truly act. Yet Miller strangely unfavourably portrays Roslyn from time to time in the film. Occasionally naive, occasionally nothing more than the image of the sex symbol Monroe desperately craved to escape.Regardless, Marilyn puts in her greatest performance, one which sexy and alluring, but filled with sadness and sensitivity.All the characters are reaching points in their life where they feel they having nothing left; the washed up cowboy, the failing rodeo rider, the new divorcee and the mechanic looking to quit his job. Meeting each other sees changes in our two protagonists; Roslyn starts to become a poster girl for independence, while drawing out Gays never seen before domestic side. However these changes are minor, meaning the development of the characters and any intended arc they are meant to have to their personas are more like a gentle incline. Gay retains his stubbornness, catching the horse himself at the end just to release it again in an act of defiance, to show he can still make his own decisions. Roslyn's breakdown at the fate at the horses, is sweet, but ultimately shows her as weak. Despite being part of the titular misfits, Perce and Guido are reduced to supporting characters who have no development whatsoever.The genre of the film is mixed too, with elements of buddy movie, romance, western and probably more, all rolled into one. While genre blending is all fine and good when its done well, here it seems halfhearted on all counts. The western element is perhaps the most dominant, but the whole film isn't stylised enough to be a classic western. There are moments when the narrative also feels like several stories that don't always fit together as they should. Perce, the rodeo cowboy generally feels superfluous to the plot, except when Roslyn hears his life story and expresses sorrow at his past.Overly long, The Misfits would have benefited from a shortened run time, the catching of the mustangs in the closing act, seems needlessly long. There are moments also, for example, Guido wrangling the horses in the plane for Gay and Perce to capture, when the score is overly dramatic and out of place, building up to an anticlimax of nothing at all. And finally the ending of the film, is strangely abrupt considering the run time, and one can only assume that Gay and Roslyn live happily ever after.BOTTOM LINE: Marilyns greatest performance in a film where the characters, or lack of, misfits.

gkeith_1 Spoilers. Observations. Opinions.Smashing. Totally wonderful. Human tragedy. Black and white wonder.Marilyn is an animal lover, whose philosophies predate the later great emphasis on animal rights. She doesn't want the wild mustangs hunted down, and Gable, Wallach and Clift are determined to do so. Forward to the final confrontation with these beautiful animals. I was thinking that the big stallion would kill all three men. No such luck.Misfits. People who don't fit in anywhere, but put together by life's coincidental circumstances. All devoid of spouses. Thelma Ritter and husband had split up for vague, to me, reasons. Marilyn, same, opposite the few seconds scene of Kevin McCarthy. Gable no spouse. Wallach widower whose wife had passed away because his car broke down and he couldn't get to the doctor, way out in the sticks of Nevada. What an idiot. Clift a mama's boy who didn't get his widdle inheritance. Boo-hoo, and never had a wife.Reno is stereotypically known as that famous mecca where unsuccessful marriages end. Ritter's house looks to be a hotel for visiting divorce candidates. Looks like there are bars and other businesses catering to the needs, and pocketbooks, of these traveling unfortunates.Did any of the men have an education? They had no professions. Their lives had become desperate searches for wild animals to be turned into pet food, and they spent their wasted days in this pursuit. They didn't want to work "for wages". They didn't want to be factory workers, or even Mr. Everyday American 9-to-5 clock-punchers.Marilyn had taught dancing before her marriage. Dancing in a cooch palace. Clift: "I was in a night club once." Marilyn's character was no Ginger Rogers or Isadora Duncan. Drunken Marilyn dances right into a huge tree, hugging it instead of the husband she dumped.The mustangs were over-hunted and almost extinct. Were their highly-numbered ancestors the mounts of the fabled Native American tribes who formerly occupied those mountains? One population was quickly dwindling, and the other seemed to have totally disappeared.Monroe was ill during shooting. She looked lovely, however. Gable was between illnesses, and had just spent some time crash dieting. His heart was soon to give out permanently, however. He was the real thing being pulled by the mustang over the desert, via rope. I feel that that was way too much punishment for his heart. I am a recent emergency heart surgery patient, and believe me I know the risks for further coronary damage.Witness the three "The Method" acting representations: Monroe, Wallach, Clift. They all studied, and were students in, classes providing this style of dramatic acting. I, too, as an actress, have studied The Method, and we have coursework in exercises in expressions of several emotions such as fear, happiness, hot, cold, memories, sick, drunk, etc. I feel that these three famous thespians all essayed their roles well. Monroe described her lonely life (real life). Wallach saw his late wife in his mind's eye. Clift on the phone: you could really see Mama on the other end of his whiny conversation.Gable wasn't a Method actor, but in his berserk scene in front of the bar you could see the next heart attack coming. He went crazy in his emoting, and should have collapsed on the set then and there. He had a wife and unborn child to support, so he had to collect that paycheck. I wonder why any doctor ever let him on the set. It was way too dangerous. The outside temperature was way over 100 degrees, and disastrous for someone with his medical history. He was 59, but looked 75. Frankly, my dear, use your brains. Retire before "the business" gets YOU. Obviously, that didn't happen. After a first heart attack and severe abuse to his body, he made this film.You've got to credit Gable with working literally to the end of his life. He wasn't like some current day retired actors who haven't made a picture in forty years. He has a ton of film credits to his name.An essay on Gable: Gable was from our state, in a rural area. He didn't come from an educated family. They were laborers. It is a blue collar area. I have visited his birth home, and taken its tour. Clark got out of the area when he had the wanderlust enough; Appalachia, anyone? He found a way older wife, and she paid for his entrée into theatre and Hollywood. She became his manager, and propelled him into what became the big time. Not bad for a big-eared kid from the sticks.I am a film critic and theatrical historian. I have studied Method acting, film censorship, singing, dance, mime and theatrical/cinematic history.

thespookyart The last film of both Marilyn Monroe and Clark Gable, this near-masterpiece offers a brilliant take on rebels who resist conformity. Written by Arthur Miller (whose marriage to Monroe was by then crumbling) the script is small in scope but large in insinuation. Monroe puts forth her most finely tuned acting performance, as does a closeted Montgomery Clift as the third wheel. Gable, too, helps hold the drama together with his arcing and resonant stylized portrayal of a leading man being pressured into submission. In the backdrop gallop a few dwindling relics of wild mustang, as metaphor of those who struggle to fight the cold mechanics of the establishment.

christopher-underwood A wonderful film, featuring three actors at their peak, two who would be dead within a year and the other loosing his sight. To be honest the performances must be as much down to John Huston as to the individuals for he seems to have every second of this film under his control and we spend the whole of the first half smiling and the second half wincing. Monroe is a joy throughout and the guys understandably in awe but the carelessness and happiness of the first half gives way to a much more realistic and harder edged drama when we get out into the hills. Huston is as happy and successful filming tightly in the early interior scenes and a delightful legs only dance close-up, as he is with the wider landscapes later on. Magnificent!