John Huston’s western is a real heartbreaker, both on and off screen. It represents her final on-screen role, as well as that of co-star Clark Gable – it was one of Montgomery Clift’s last, too – and the set was a troubled, hard-boozing place from which Monroe would absent herself for two weeks in rehab. It’s a film full of wounded, lonely souls, too, who find communion breaking horses on the salt flats of Nevada. Monroe’s then-husband, Arthur Miller, penned a screenplay that gifted her the role of jaded divorcée Roslyn Tabor, a beautiful, complex woman who becomes a blank canvas for troubled men to project their hopes onto. Maybe it’s self-knowledge you can see in a character whose emotional wounds are almost visible. It’s the deepest, strongest turn of her career. It also leaves you reflecting on what she might have gone on to achieve.