"And then the first was The Misfits, which I enjoyed very much, with Marilyn and Gable"
About this Quote
Name-dropping as understatement is an actor’s native language, and Eli Wallach’s line is a masterclass in it. He doesn’t “frame” The Misfits as a monument of American cinema or a doomed production soaked in myth. He just calls it “the first” and says he “enjoyed” it, as if sharing a pleasant meal. That casualness is the point: it’s how a working actor reclaims a story that pop culture has embalmed.
The subtext, of course, is louder than the sentence. The Misfits (1961) isn’t merely “with Marilyn and Gable”; it’s with Marilyn Monroe near the end of her life, with Clark Gable in his final role, with Montgomery Clift unraveling on camera, with Arthur Miller’s script shadowed by a collapsing marriage. Wallach’s breezy phrasing flattens that tragedy into a memory of doing the job, which is both humane and quietly defiant. He refuses the fan’s appetite for doom.
“Which I enjoyed very much” also hints at professional pride. Wallach wasn’t a decorative witness; he was part of the machinery, holding his own opposite icons whose names now swallow the room. By placing them after the simple pleasure of the work, he subtly reorders the hierarchy: craft first, legend second.
It’s a line that treats history like a rehearsal note. In an era that turns every set into content and every anecdote into trauma, Wallach’s restraint reads like a lost ethic: the performance mattered, the people were complicated, and not every memory needs to audition for significance.
The subtext, of course, is louder than the sentence. The Misfits (1961) isn’t merely “with Marilyn and Gable”; it’s with Marilyn Monroe near the end of her life, with Clark Gable in his final role, with Montgomery Clift unraveling on camera, with Arthur Miller’s script shadowed by a collapsing marriage. Wallach’s breezy phrasing flattens that tragedy into a memory of doing the job, which is both humane and quietly defiant. He refuses the fan’s appetite for doom.
“Which I enjoyed very much” also hints at professional pride. Wallach wasn’t a decorative witness; he was part of the machinery, holding his own opposite icons whose names now swallow the room. By placing them after the simple pleasure of the work, he subtly reorders the hierarchy: craft first, legend second.
It’s a line that treats history like a rehearsal note. In an era that turns every set into content and every anecdote into trauma, Wallach’s restraint reads like a lost ethic: the performance mattered, the people were complicated, and not every memory needs to audition for significance.
Quote Details
| Topic | Movie |
|---|---|
| Source | Help us find the source |
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