Wild horses | The set of The Misfits portrayed by Magnum Agency
Elliot Erwitt
Ernst Haas
Eve Arnold
Cornell Capa
Erich Hartmann
Eve Arnold
Bruce Davidson
Cornell Capa
Ernst Haas
Henri Cartier-Bresson
Inge Morath
Inge Morath
Inge Morath
Inge Morath
El rodaje de la película 'Vidas Rebeldes' ('The Misfits', 1960) es una suculenta historia en sí mismo (existen un par de libros sobre el tema), igual de interesante y complejo que su guión, escrito por Arthur Miller como vehículo para que su entonces esposa, Marilyn Monroe, demostrara en un papel dramático sus dotes interpretativas que parecían frustradas por tanta comedia. Pretendía además con ello salvar su matrimonio, ya en declive, y de paso ayudar a la actriz a mejorar su frágil estado anímico que la había convertido en una adicta a las pastillas. Pero la película, en la que ella aparecía en casi cada fotograma, la agotó hasta el límite de una crisis nerviosa aguda. Se sumaba un caótico rodaje en el desierto de Nevada, un equipo y un pueblo testigos de las vicisitudes del evento que incluían a su director John Huston adicto al juego por lo que visitaba continuamente la vecina localidad de Reno (el 'Las Vegas' de Nevada), un Montgomery Clift herido por la vida, desmejorado después de un aparatoso accidente y en un continuo proceso de autodestrucción, o un Clark Gable que a pesar de su deteriorada salud (ya iba por el tercer infarto) no sospechaba su inminente final. De hecho para el dúo protagonista sería el último rodaje ya que morirían todos poco después, lo que ha rodeado a la película de cierta mítica y malditismo. La distancia entre Marilyn y Miller se hizo insalvable a lo largo de esa estancia en el desierto, ella además siempre acompañada de esa figura un tanto siniestra que era su consultora e instructora interpretativa, la menuda pero (si creemos lo que se cuenta de ella) manipuladora Paula Strasberg del Actor's Studio. Miller encontraría consuelo posteriormente en la fotógrafa Inge Morath. Inge era una visitante más de los varios y prestigiosos integrantes de la Agencia Magnum que recibieron el encargo de captar instantes del rodaje como promoción para esa conjunción de estrellas al servicio de una película que no encontró el favor del público en su estreno, en parte por lo intrincado de una trama aparentemente sencilla en que una divorciada se une a unos cuantos vaqueros en una escapada al desolado paisaje del desierto de Nevada para olvidar el fracaso de su matrimonio. Como los títulos de crédito parecen sugerir en realidad la historia es un imposible ensamblaje de piezas sueltas de un puzzle que muestra el naufragio vital de un puñado de perdedores ante los ojos de una chica extremadamente sensible. Un homenaje más o menos velado a los outsiders, obstinados a pesar de su destino fatal ante una realidad que cambia, reflejado por la poética de la captura y doma de caballos salvajes en aquella localización de apariencia lunar. Esa empatía descarnada también estaba presente en otras películas de Huston, como por ejemplo en el personaje que interpretó su padre, Walter Huston, en la magnífica 'El Tesoro de Sierra Madre' o todos y cada uno de los personajes de 'Fat City'.
The filming of 'The Misfits' (John Huston, 1960) is a full story in itself (there are a couple of fine books about the shooting), as interesting and complex as the script for it written by Arthur Miller to serve as a vehicle for his then wife, Marilyn Monroe, in order to demonstrate in a dramatic role her acting skills that seemed so frustrated by comedy. He also intended to save his marriage, already in decline, and incidentally helping the actress to improve its fragile state of mind that had her addicted to pills. But the film, in which she appeared in almost every frame, caused her exhaustion to the limit of a nervous breakdown. It amounted to a chaotic shooting in the Nevada desert, a team and a town as public to the vicissitudes of so much going on which included director John Huston addicted to gambling continually visiting the nearby town of Reno (the 'Las Vegas' of Nevada ), a self- destructive Montgomery Clift wounded by life or a professional Clark Gable who did not suspect his inminent passing in spite of his by then damaged health. In fact for Gable and Monroe it would be the last shooting as they would die soon after, which has surrounded the film of some myth. The distance between Marilyn and Miller became impassable during that stay in the desert, she also always accompanied by that shadowy figure who was her acting coach, the petite but sinister Paula Strasberg of the Actor's Studio. He would find solace in the photographer Inge Morath. Inge was a visitor along the various members of the prestigious Magnum Agency commissioned to capture moments of the shooting as a promotion for that conjunction of stars and intellectuals at the service of a film that did not find favor with the public at its premiere, in part by the intricacies of an apparently simple plot in which a divorced woman joins a few cowboys on a trip to that desolate landscape to forget the failure of his marriage. As the credits suggest, in fact the story is an intrincate puzzle made of lost pieces that shows the vital wreck of a bunch of losers in front of the eyes of a extremely sensitive girl. It seems a tribute more or less obvious to outsiders, busy being themselves despite a stubborn fate to a changing reality, as reflected by the poetry of the capturing and taming of wild horses in that lunar landscape. A portrait of assembled pieces of a lost world, a subject portrayed in other films directed by Huston like the character played by his father, Walter Huston, in the magnificent 'The Treasure of Sierra Madre' or those lonely "lost souls" in 'Fat City'.
The filming of 'The Misfits' (John Huston, 1960) is a full story in itself (there are a couple of fine books about the shooting), as interesting and complex as the script for it written by Arthur Miller to serve as a vehicle for his then wife, Marilyn Monroe, in order to demonstrate in a dramatic role her acting skills that seemed so frustrated by comedy. He also intended to save his marriage, already in decline, and incidentally helping the actress to improve its fragile state of mind that had her addicted to pills. But the film, in which she appeared in almost every frame, caused her exhaustion to the limit of a nervous breakdown. It amounted to a chaotic shooting in the Nevada desert, a team and a town as public to the vicissitudes of so much going on which included director John Huston addicted to gambling continually visiting the nearby town of Reno (the 'Las Vegas' of Nevada ), a self- destructive Montgomery Clift wounded by life or a professional Clark Gable who did not suspect his inminent passing in spite of his by then damaged health. In fact for Gable and Monroe it would be the last shooting as they would die soon after, which has surrounded the film of some myth. The distance between Marilyn and Miller became impassable during that stay in the desert, she also always accompanied by that shadowy figure who was her acting coach, the petite but sinister Paula Strasberg of the Actor's Studio. He would find solace in the photographer Inge Morath. Inge was a visitor along the various members of the prestigious Magnum Agency commissioned to capture moments of the shooting as a promotion for that conjunction of stars and intellectuals at the service of a film that did not find favor with the public at its premiere, in part by the intricacies of an apparently simple plot in which a divorced woman joins a few cowboys on a trip to that desolate landscape to forget the failure of his marriage. As the credits suggest, in fact the story is an intrincate puzzle made of lost pieces that shows the vital wreck of a bunch of losers in front of the eyes of a extremely sensitive girl. It seems a tribute more or less obvious to outsiders, busy being themselves despite a stubborn fate to a changing reality, as reflected by the poetry of the capturing and taming of wild horses in that lunar landscape. A portrait of assembled pieces of a lost world, a subject portrayed in other films directed by Huston like the character played by his father, Walter Huston, in the magnificent 'The Treasure of Sierra Madre' or those lonely "lost souls" in 'Fat City'.
Eve Arnold
Eve Arnold
Dennis Stock
Eve Arnold
Eve Arnold
Erich Hartman
Eve Arnold
Eve Arnold
Henri Cartier-Bresson
Inge Morath
Bruce Davidson
Bruce Davidson
Eve Arnold
Ernst Haas
Ernst Haas
Eve Arnold
Henri Cartier-Bresson
Cornell Capa
Inge Morath
Eve Arnold
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▶The Rolling Stones·'Wild Horses'
