Elliott Erwitt: Behind the Scenes of The Misfits
In 1960 Elliott Erwitt drove to the blazing city of Reno, Nevada to document John Huston’s modern-day western, The Misfits.
Starring Clark Gable, Montgomery Clift and Marilyn Monroe, the film was destined for an enthusiastic reception. However, the scorching 38°C heat and strained dynamics on set caused a great rift in The Misfits’ production, ladening a heavy burden on cast and crew alike. As her marriage to Arthur Miller broke down, Monroe’s mental health began to decline. During this period the actress drank heavily, turned up to set late or not at all, forgot her lines, and even spent two weeks in hospital for depression treatment. Although some cast and crew were sympathetic to Monroe’s unfortunate situation, others watched angrily while the film’s release date crept further away and costs increased at an alarming rate. Erwitt, ever-thoughtful and attuned to social dynamics, noticed the tensions on set. However, using his unobtrusive warmth, the photographer managed to present the cast as a glamorous and energetic group, almost as if the set were truly peaceful behind closed doors.
Erwitt’s well-known publicity shot for the film includes Arthur Miller (writer), Frank Taylor (producer), Eli Wallach (director), and cast members Montgomery Clift, Marilyn Monroe and Clark Gable. The ensemble is intricately arranged, with members sitting and kneeling against various props and stools. Monroe sits radiant amongst her male colleagues, her legs elegantly poised, her body leaning ever so slightly toward the camera.
The late photographer’s contact sheet from this shoot reveals another layer of backstage activity. In these shots, the group cheerfully muck about, tousling each other’s hair and play-fighting. Of the contact images, Erwitt stated that “actors are impossible. Whenever there’s a camera around they play for it [and] do all kinds of things”. Thus, although these photographs appear to portray a glittering cast in the midst of a joyful outburst, they are not truthful. Indeed, the scene is entirely contrived and forced, with Erwitt musing that in reality the cast likely wanted “to strangle one another”.
‘Marilyn Monroe, Reno, Nevada’ (1960), however, presents a more voracious account of the tense atmosphere behind The Misfits. Monroe is depicted alongside cast members in a flurry of activity. Drink in hand, she teeters bandy-legged amongst the shouting crowd, who appear to exchange money with one another. Her mouth is partly open, as if caught midway through speech. The actress exudes the incomparable beauty she is renowned for, her blonde hair and white dress luminescent in the desert dusk, caught beneath Erwitt’s flash. However, her struggle is more apparent in this photograph. Her eyes reveal the inner essence of her pain, gazing away from the camera lens to a distant reality. In this image, Erwitt catches Monroe off guard. The actress was unaware her photograph was being taken, leaving her no time to compose the mask of genteel cheerfulness she so often hid her true emotions behind.
The Misfits ended up being the last film Monroe completed before she tragically died in 1962. Despite the continuous difficulties on set, the film received critical acclaim for its script and performances, with Monroe winning the ‘World Film Favourite’ 1961 Golden Globe Award just five months prior to her death. Today, Erwitt’s photographs remain as a testament to her dazzling personality and unrivalled talent, resolute even during emotional turmoil.
