John Huston

John Marcellus Huston (/ˈhjuːstən/; August 5, 1906 – August 28, 1987) was an American film director, screenwriter, and actor. Huston was a citizen of the United States by birth but renounced U.S. citizenship to become an Irish citizen and resident. He returned to the United States, where he lived the rest of his life.[2] He wrote the screenplays for most of the 37 feature films he directed, many of which are today considered classics: The Maltese Falcon (1941), The Treasure of the Sierra Madre (1948), The Asphalt Jungle (1950), The African Queen (1951), The Misfits (1961), Fat City (1972), and The Man Who Would Be King (1975). During his 46-year career, Huston received 15 Oscar nominations, winning twice, and directed both his father, Walter Huston, and daughter, Anjelica Huston, to Oscar wins.

Huston was known to direct with the vision of an artist, having studied and worked as a fine art painter in Paris in his early years. He continued to explore the visual aspects of his films throughout his career, sketching each scene on paper beforehand, then carefully framing his characters during the shooting. While most directors rely on post-production editing to shape their final work, Huston instead created his films while they were being shot, making them both more economical and cerebral, with little editing needed.

Some of Huston's films were adaptations of important novels, often depicting an "heroic quest," as in Moby Dick, or The Red Badge of Courage. In many films, different groups of people, while struggling toward a common goal, would become doomed, forming "destructive alliances," giving the films a dramatic and visual tension. Many of his films involved themes such as religion, meaning, truth, freedom, psychology, colonialism, and war.

Huston has been referred to as "a titan", "a rebel", and a "renaissance man" in the Hollywood film industry. Author Ian Freer describes him as "cinema's Ernest Hemingway"—a filmmaker who was "never afraid to tackle tough issues head on."[3]

John Huston
John Huston - publicity
Huston in Chinatown (1974)
John Marcellus Huston

August 5, 1906
DiedAugust 28, 1987 (aged 81)
Resting placeHollywood Forever Cemetery
OccupationFilm director, screenwriter, actor
Years active1930–1987
Dorothy Harvey
(m. 1925; div. 1933)

Lesley Black
(m. 1937; div. 1945)

Evelyn Keyes
(m. 1946; div. 1950)

Enrica Soma
(m. 1950; died 1969)

Celeste Shane
(m. 1972; div. 1977)
Partner(s)Zoe Sallis
Children5, including Anjelica, Tony, Danny, and Allegra Huston
Parent(s)Walter Huston
Rhea Gore
Military career
Service/branch United States Army
RankUS-O4 insignia.svg Major[1]

Early life

John Huston was born on August 5, 1906, in Nevada, Missouri. He was the only child of Rhea (née Gore) and Canadian-born Walter Huston. His father was an actor, initially in vaudeville, and later in films. His mother initially worked as a sports editor for various publications, but gave it up after John was born. Similarly, his father gave up his stage acting career for steady employment as a civil engineer, although he returned to stage acting within a few years. He later became highly successful on both Broadway and then in motion pictures. He had Scottish, Scots-Irish, English and Welsh ancestry.

Huston's parents divorced in 1913, when he was six, and as a result much of his childhood was spent living in boarding schools. During summer vacations, he traveled with each of his parents separately — with his father on vaudeville tours, and with his mother to horse races and other sports events. Young Huston benefited greatly from seeing his father act on stage, as he was later drawn to acting.[1] Some critics, such as Lawrence Grobel, surmise that his relationship with his mother may have caused his five marriages, and why few of his relationships lasted. Grobel wrote, "When I interviewed some of the women who had loved him, they inevitably referred to his mother as the key to unlocking Huston's psyche."[4] According to actress Olivia de Havilland, "she [his mother] was the central character. I always felt that John was ridden by witches. He seemed pursued by something destructive. If it wasn't his mother, it was his idea of his mother."[4]

As a child he was often ill and was treated for an enlarged heart and kidney ailments. He recovered after an extended bedridden stay in Arizona, and moved with his mother to Los Angeles, where he attended Abraham Lincoln High School. He dropped out after two years to become a professional boxer, and by age 15 was a top-ranking amateur lightweight boxer in California. He ended his brief boxing career after suffering a broken nose.[1]

He also "plunged" himself into a multitude of interests, including abstract painting, ballet, English and French literature, opera, and horseback riding. Living in Los Angeles he became "infatuated" with the new film industry and motion pictures, but as a spectator only. To Huston, "Charlie Chaplin was a god."[5]

He moved back to New York to live with his father, who was then acting in off-Broadway productions, and John had a few small roles.[6] He remembers, while watching his father rehearse, being fascinated with the mechanics of acting:

What I learned there, during those weeks of rehearsal, would serve me for the rest of my life.[5]

After a short period acting on stage, and having undergone surgery, he traveled on his own to Mexico. During his two years there, among his other adventures, he got a position riding as an honorary member of the Mexican cavalry. He returned to Los Angeles and married a girlfriend from high school, Dorothy Harvey. Their marriage lasted seven years, (1926–1933).

Early career as writer

During his stay in Mexico, he wrote a play called "Frankie and Johnny", based on the ballad of the same title. After selling it easily, he decided that writing would be a viable career, and he focused on it. His self-esteem was enhanced when H. L. Mencken, editor of the popular magazine American Mercury, bought two of his stories, "Fool" and "Figures of Fighting Men." During subsequent years his stories and feature articles were published in Esquire, Theatre Arts, and The New York Times. He also worked for a period on the New York Graphic. In 1931, when he was 25, he moved back to Los Angeles with his hopes aimed at writing for the blossoming film industry, where the silent film industry had given way to "talkies", and writers were in demand.[6] In addition, his father had earlier moved there where he was already successful in a number of films.

He received a script editing contract with Samuel Goldwyn Productions, but after six months of receiving no assignments, quit to work for Universal Studios, where his father was a star. At Universal, he got a job in the script department, and began by writing dialogue for a number of films in 1932, including Murders in the Rue Morgue, A House Divided, and Law and Order. The last two also starred his father, Walter Huston. In addition, House Divided was directed by William Wyler, who gave Huston his first real "inside view" of the filmmaking process during all stages of production. Wyler and Huston became close friends and collaborators on a number of leading films.[6]

Huston gained a reputation as a "lusty, hard-drinking libertine" during his first years as a writer in Hollywood.[1] Huston described those years as a "series of misadventures and disappointments". His brief career as a Hollywood writer ended suddenly after a car he was driving struck and killed actress Tosca Roulien, wife of actor Raul Roulien. There is a rumor that it was actually Clark Gable that was to blame for the hit and run, but MGM General Manager Eddie Mannix paid Huston to take the blame.[7] A coroner's jury absolved Huston of blame, but the incident left him "traumatized". He moved to London and Paris, living as a "drifter."[1]

By 1937, the 31-year-old Huston returned to Hollywood intent on being a "serious writer." He married Lesley Black. His first job was as scriptwriter with Warner Brothers Studio, with his personal longterm goal of directing his own scripts. For the next four years, he co-wrote scripts for major films such as Jezebel, The Amazing Dr. Clitterhouse, Juarez, Dr. Ehrlich's Magic Bullet and Sergeant York (1941).[1] He was nominated for an Academy Award for writing both Ehrlich and Sergeant York. Huston wrote that Sergeant York, which was directed by Howard Hawks, has "gone down as one of Howard's best pictures, and Gary Cooper had a triumph playing the young mountaineer."[8]:77

Huston was recognized and respected as a screenwriter. He persuaded Warners to give him a chance to direct, under the condition that his next script also became a hit. Huston wrote:

They indulged me rather. They liked my work as a writer and they wanted to keep me on. If I wanted to direct, why, they'd give me a shot at it, and if it didn't come off all that well, they wouldn't be too disappointed as it was to be a very small picture.[5]

His next script was High Sierra (1941), to be directed by Raoul Walsh. The film became the hit Huston wanted. It also made Humphrey Bogart a star with his first major role, as a gunman on the run. Warners kept their end of the bargain, and gave Huston his choice of subject.[5]

Screenwriter and director

The Maltese Falcon (1941)

For his first directing assignment, Huston chose Dashiell Hammett's detective thriller, The Maltese Falcon, a film which failed at the box office in two earlier versions by Warners. However, studio head Jack L. Warner approved of Huston's treatment of Hammett's 1930 novel, as he stood by his word to let Huston choose his first subject.[5]

Huston kept the screenplay close to the novel, keeping much of Hammett's dialogue, and directing it in an uncluttered style, much like the book's narrative. He did unusual preparation for his first directing job by sketching out each shot beforehand, including camera positions, lighting, and compositional scale, for such things as closeups.[6]

He especially benefited by selecting a superior cast, giving Humphrey Bogart the lead role. Bogart was happy to take the role, as he liked working with Huston. In addition, the supporting cast included other noted actors: Mary Astor, Peter Lorre, Sydney Greenstreet (his first film role), and his own father, Walter Huston. The film, however, was given only a small B-movie budget, and received minimal publicity by Warners, as they had low expectations.[5] The entire film was made in eight weeks for only $300,000.[1]

Warners was surprised by immediate enthusiastic response by the public and critics, who hailed the film as a "classic" and claimed by many to be the "best detective melodrama ever made."[5] Herald Tribune critic Howard Barnes called it a "triumph."[5] Huston received an Academy Award nomination for the screenplay. After this film, Huston would direct all of his screenplays, except for one, Three Strangers (1946).[6] In 1942, he directed two more hits, In This Our Life (1942), starring Bette Davis, and Across the Pacific, another thriller starring Humphrey Bogart.

Army years during World War II

The Battle of San Pietro (1945)

In 1942 he served in the United States Army during World War II to make films for the Army Signal Corps. While in uniform with the rank of captain, he directed and produced three films that some critics rank as "among the finest made about World War II: Report from the Aleutians (1943), about soldiers preparing for combat; The Battle of San Pietro (1945), the story (censored by the Army) of a failure by America's intelligence agencies which resulted in many deaths, and Let There Be Light (1946), about psychologically damaged veterans, also censored for 35 years, until 1981.[1]

He rose to the rank of major and received the Legion of Merit award for "courageous work under battle conditions."[1] Nonetheless, all of his films made for the Army were "controversial", and either not released, censored, or banned outright, as they were considered "demoralizing" to soldiers and the public.[6] Years later, after moving to Ireland, his daughter, actress Anjelica Huston, recalled that the "main movies we watched were the war documentaries."[9]:10

Huston did an uncredited rewrite of Anthony Veiller's screenplay for The Stranger (1946), a film he was to have directed. When Huston became unavailable Orson Welles was offered the opportunity to direct. He had been cast in the role of a high-ranking Nazi fugitive who manages to settle in New England under an assumed name.[10]

The Treasure of the Sierra Madre (1948)

His next picture, which he wrote, directed, and briefly appeared in as an American, asked to "help out a fellow American, down on his luck", was The Treasure of the Sierra Madre (1948). It would become one of the films which established his reputation as a leading filmmaker. The film, also starring Humphrey Bogart, was the story of three drifters who band together to prospect for gold. Huston also gave a supporting role to his father, Walter Huston.

Warners studio was initially uncertain what to make of the film. They had allowed Huston to film on location in Mexico, which was a "radical move" for a studio at the time. They also knew that Huston was gaining a reputation as "one of the wild men of Hollywood." In any case, studio boss Jack L. Warner initially "detested it." But whatever doubts Warners had were soon removed, as the film achieved widespread public and critical acclaim. Hollywood writer James Agee called it "one of the most beautiful and visually alive movies I have ever seen."[5] Time magazine described it as "one of the best things Hollywood has done since it learned to talk."[5] Huston won Oscars for Best Director and Best Adapted Screenplay; his father won for Best Supporting Actor. It also won other awards in the U.S. and overseas. Film Comment magazine devoted four pages to the film in its May–June 1980 edition, with author Richard T. Jameson offering his impressions:

This film has impressed itself on the heart and mind and soul of anyone who has seen it, to the extent that filmmakers of great originality and distinctiveness like Robert Altman and Sam Peckinpah can be said to have remade it again and again ... without compromising its uniqueness.[5]

Key Largo (1948)

Also in 1948 he directed his next film, Key Largo, again with Humphrey Bogart starring. It was the story about a disillusioned returning veteran clashing with gangsters on a remote Florida key. It co-starred Lauren Bacall, Claire Trevor, Edward G. Robinson, and Lionel Barrymore. The film was an adaptation of the stage play by Maxwell Anderson, and the film itself seemed overly stage-bound for many viewers. However, the "outstanding performances" by all the actors saved the film, and Claire Trevor won an Oscar for best supporting actress.[5] Huston was annoyed that the studio cut several scenes from the final release without his agreement. That, along with some earlier disputes, angered Huston enough that he left the studio when his contract expired.[5]

The Asphalt Jungle (1950)

In 1950 he wrote and directed The Asphalt Jungle, a film which broke new ground by depicting criminals as somewhat sympathetic characters, simply doing their professional work, "an occupation like any other",[6] or what Huston calls "a left-handed form of human endeavor."[8]:177 Huston achieved that effect by giving "deep attention" to the plot, involving a large jewelry theft, by examining the minute, step by step details and difficulties each of the characters had of carrying it out. In doing so, some critics felt that Huston had achieved an almost "documentary" style.[6] His assistant director Albert Band explains further:

I'll never forget it. We got on that set and he composed a shot in which ten elements were working all at the same time. Took half a day to do it, but it was fantastic. He knew exactly how to shoot a picture. His shots were all painted on the spot ... He had a great eye and he never lost his sense of composition.[11]:335

Film critic Andrew Sarris considered it to be "Huston's best film", and the film that made Marilyn Monroe a recognized actress. Sarris also notes the similar themes in many of Huston's films, as exemplified by this one: "His protagonists almost invariably fail at what they set out to do."[12] This theme was also similar to the story in Treasure of the Sierra Madre, where greed became the cause of the group's undoing.

It starred Sterling Hayden and Huston's personal friend, Sam Jaffe. It also became the first serious role for Marilyn Monroe, according to Huston: "it was, of course, where Marilyn Monroe got her start."[8]:177 Monroe said Huston was the first genius she had ever met; and he made her feel that she finally had a chance of becoming a professional actress:[11]:336

Even though my part was a minor one, I felt as if I were the most important performer in the picture—when I was before the camera. This was because everything I did was important to the director.[11]:336

The film succeeded at the box office and Huston was again nominated for an Oscar for best screenplay and best director, along with winning the Screen Directors Guild Award.[5] It would subsequently become a model for many similar movies by other filmmakers.

The Red Badge of Courage (1951)

After completing The Asphalt Jungle, Huston's next film, The Red Badge of Courage (1951), was of a completely different subject: war and its effect on soldiers. While in the army during World War II, he became interested in Stephen Crane's classic American Civil War novel of the same title. For the starring role, Huston chose World War II hero Audie Murphy to play the young Union soldier who deserts his company out of fear, but later returns to fight alongside them. MGM, however, saw the message of the movie as too antiwar. Without Huston's input, they cut down the running time of the film from eighty-eight minutes to sixty-nine, added narration, and deleted what Huston felt was a crucial scene.[6]

The movie did poorly at the box office. Huston suggests that it was possibly because it "brought war very close to home."[13] Huston recalls that at the preview showing, before the film was halfway through, "damn near a third of the audience got up and walked out of the theater."[13] Despite the "butchering" and weak public response, film historian Michael Barson describes the movie as "a minor masterpiece."[14]

The African Queen (1951)

The African Queen, Bogart
Humphrey Bogart in The African Queen (1951)

Before The Red Badge of Courage opened in theaters, Huston was already in Africa shooting The African Queen (1951), a story based on C. S. Forester's popular novel. It starred Humphrey Bogart and Katharine Hepburn in a combination of romance, comedy and adventure. Barson calls it "one of the most popular Hollywood movies of all time."[14] The film's producer, Sam Spiegel, urged Huston to change the ending to allow the protagonists to survive, instead of dying. Huston agreed, and the ending was rewritten. It became Huston's most successful film financially, and "it remains one of his finest works."[6] Huston was nominated for two Academy Awards—Best Director and Best Adapted Screenplay. Bogart, meanwhile, won his only Oscar for Best Actor for his role as Charlie Allnut. Hepburn wrote about her experiences shooting the film in her memoir, The Making of the African Queen: Or How I went to Africa with Bogart, Bacall, and Huston and almost lost my mind.[15] Clint Eastwood directed and starred in the film White Hunter, Black Heart, based on Peter Viertel's novel of the same name, which tells a fictional version of the making of the film.[16]

House Committee on Un-American Activities period

In 1952 Huston moved to Ireland as a result of his "disgust" at the "witch-hunt" and the "moral rot" he felt was created by House Committee on Un-American Activities (HUAC), which had affected many of his friends in the movie industry. Huston had, with friends including director William Wyler and screenwriter Philip Dunne, established the "Committee for the First Amendment", as a response to the ongoing government investigations into communists within the film industry. The HUAC was calling numerous filmmakers, screenwriters, and actors to testify about any past affiliations.[14] He tries to describe in general the types of people who were alleged communists:

The people who did get caught up in it were, for the most part, well-intentioned boobs from a poor background. A number of them had come from the Lower East Side of Manhattan, and out in Hollywood, they sort of felt guilty for living the good life. Their social conscience was more acute than the next fellow's.[17]

Moby Dick (1956)

Huston took producing, writing, and directing credits for his next two films: Moulin Rouge (1952); and Beat the Devil (1953). Moby Dick (1956), however, was written by Ray Bradbury, although Huston had his name added to the screenplay credit after the completion of the project. Although Huston had personally hired Bradbury to adapt Herman Melville's novel into a screenplay, Bradbury and Huston did not get along during pre-production, and Bradbury later dramatized their relationship in the short story "Banshee"; Peter O'Toole would later play the role based on John Huston when "Banshee" was adapted into an episode of The Ray Bradbury Theater.[18] Bradbury wrote more poems, essays, and stories on his time in Ireland, but was reluctant to write a book because he did not want to gossip about Huston. It was not until after he read Katharine Hepburn's memoir The Making of the African Queen: Or How I went to Africa with Bogart, Bacall, and Huston and almost lost my mind that he decided that he could write "a book which is fair, which presents the Huston that I loved along with the one that I began to fear on occasion." He published Green Shadows, White Whale, a novelization of his time in Ireland with Huston, almost 40 years after he wrote the screenplay for Moby Dick.[19]

Huston had been planning to film Herman Melville's Moby-Dick for the previous ten years, and originally saw it as an excellent part for his father, Walter Huston. However, his father died in 1950, and he chose Gregory Peck to play the starring role of Captain Ahab. The movie was filmed over a three-year period on location in Ireland, where Huston was then living. The fishing village of New Bedford, Massachusetts was recreated along the waterfront; the sailing ship in the film was fully constructed to be seaworthy; and three 100-foot whales were built out of steel, wood, and plastic. However, the film failed at the box office, with some critics, like David Robinson, suggesting that the movie lacked the "mysticism of the book" and thereby "loses its significance."[5]

The Misfits (1961)

Marilyn Monroe Misfits

Of his next five films, only The Misfits (1961), found critical approval.[3] However, critics have noted the "retrospective atmosphere of doom" which now hangs over the film. Clark Gable, the star, died of a heart attack a few days after the filming was completed; Marilyn Monroe never finished another film and died a year later during the filming of Something's Gotta Give; and costars Montgomery Clift and Thelma Ritter also died over the next few years. During the filming itself, Monroe was often on drugs of various kinds, which led to her arriving late on the set and often forgetting her lines. Monroe's problems also led to the breakup of her marriage to the film's scriptwriter, Arthur Miller, "virtually on set."[5] Miller dramatized the making of The Misfits in his final play, Finishing the Picture, where Huston is represented as the director.[20] Huston later commented about this period in her career: "Marilyn was on her way out. Not only of the picture, but of life."[13]

Freud: the Secret Passion (1962)

He followed The Misfits with Freud: The Secret Passion, a film quite different from most of his others. Besides directing, he also narrates portions of the story. Film historian Stuart M. Kaminsky notes that Huston presents Sigmund Freud, played by Montgomery Clift, "as a kind of savior and messiah", with an "almost Biblical detachment." As the film begins, Huston describes Freud as a "kind of hero or God on a quest for mankind":[21]

This is the story of Freud's descent into a region as black as hell, man's unconscious, and how he let in the light.

Huston explains how he became interested in psychotherapy, the subject of the film:

I first got into that through an experience in a hospital during the war, where I made a documentary about patients suffering from battle neuroses. I was in the army and made the picture "Let There Be Light". That experience started my interest in psychotherapy, and to this day Freud looms as the single huge figure in that field.[13]

John Huston's Night of the Iguana set on Mismaloya Beach, in Puerto Vallarta, Mexico

The Night of the Iguana (1964)

For his next film, Huston once again traveled down to Puerto Vallarta, Mexico, after meeting an architect, Guillermo Wulff, who owned property and businesses in the town. The filming would take place in a beach cove called Mismaloya, about thirty minutes south of town. Huston adapted the stage play by Tennessee Williams. The film stars Richard Burton and Ava Gardner, and was nominated for several Academy Awards. Production attracted intense worldwide media attention, due to Burton bringing his celebrity mistress Elizabeth Taylor (who was still married to singer Eddie Fisher at the time) to Puerto Vallarta, Mexico. Huston liked the town where filming took place so much that he bought a house near there, as did Burton and Taylor. Guillermo Wulff and Huston became friends and always spent time together while Huston was in town, more frequently at Wulff's El Dorado Restaurant on Los Muertos Beach.

The Bible: In the Beginning (1966)

Producer Dino De Laurentis traveled to Ireland to ask Huston to direct The Bible: In the Beginning. Although De Laurentis had ambitions for a broader story, he realized that the subject could not be adequately covered and limited the story to the first less than half of the Book of Genesis. Huston enjoyed directing the film, as it gave him a chance to indulge his love of animals. Besides directing he also played the role of Noah and the voice of God. The film did poorly at the box office, however, and at a cost of 18 million dollars, it was the most expensive movie in his career.[5] Huston likes describing details about the filming:

Every morning before beginning work, I visited the animals. One of the elephants, Candy, loved to be scratched on the belly behind her foreleg. I'd scratch her and she would lean farther and farther toward me until there was some danger of her toppling over on me. One time I started to walk away from her, and she reached out and took my wrist with her trunk and pulled me back to her side. It was a command: "Don't stop!" I used it in the picture. Noah scratches the elephant's belly and walks away, and the elephant pulls him back to her time after time.[8]:317

Involvement with the Irish Film Industry

I think the politicians who supported building the studio can take consolation in the fact that it's brought a lot of money to Ireland. We're spending more than a million dollars in Ireland and we wouldn't be here if it weren't for Ardmore.

— John Huston, in an interview on RTE[22]

While working on Casino Royale (1967), Huston took interest in the Irish film industry, which had historically struggled to attain domestic or international success. There were rumors that he would buy Ireland's premiere film location, Ardmore Studios in Bray, County Wicklow. In 1967, Huston gave Taoiseach Jack Lynch a tour of Ardmore and asked to form a committee to help foster a productive Irish film industry. Huston served on the resulting committee with Irish filmmakers and journalists.[22]

Lynch also ultimately agreed to offer tax breaks to foreign production companies if they shot in location in Ireland through the Film Act of 1970.[23]

Huston was interviewed in Irish journalist Peter Lennon's Rocky Road to Dublin (1967), where he argued that it was more important for Irish filmmakers to make films in Ireland than for foreign production companies to make international films.[24]

Fat City (1972)

After several films that were not well received, Huston returned to critical acclaim with Fat City. Based on Leonard Gardner's 1969 novel of the same name, it was about an aging, washed-up alcoholic boxer in Stockton, California trying to get his name back on the map, while having a new relationship with a world weary alcoholic, and an amateur boxer trying to find success in boxing. The film was nominated for several awards upon its release. It starred Stacy Keach, a young Jeff Bridges, and Susan Tyrrell, in which she was nominated for an Academy Award for Best Supporting Actress. Roger Ebert stated Fat City as one of Huston's best films, giving it four out of four stars.[25]

The Man Who Would Be King (1975)

Perhaps Huston's most highly regarded film of the 1970s, The Man Who Would Be King was both a critical and commercial success. Huston had been planning to make this film since the '50s, originally with his friends Humphrey Bogart and Clark Gable. Eventually the lead roles went to Sean Connery and Michael Caine. The movie was filmed on location in North Africa. The film was praised for its use of old fashioned escapism and entertainment. Steven Spielberg has cited the film as one of his inspirations for his film Raiders of the Lost Ark.

Wise Blood (1979)

After filming The Man Who Would Be King, Huston took his longest break between directing films. He returned with an offbeat and somewhat controversial film based on the novel Wise Blood. Here, Huston showed his skills as a storyteller, and boldness when it came to difficult subjects such as religion.

Under the Volcano (1984)

Huston's last film set in Mexico stars Albert Finney as an alcoholic ambassador during the beginnings of World War II. The film gained a strong critical reception, most notably for Finney's portrayal of a desperate and depressed alcoholic. The film was also a success on the independent circuit.

The Dead (1987)

John Huston's final film is an adaptation of the classic short story by James Joyce. This may have been one of Huston's most personal films, due to his citizenship in Ireland and his passion for classic literature. Huston directed most of the film from a wheelchair, as he needed an oxygen tank to breathe during the last few months of his life. The film was nominated for two Academy Awards, and was praised by critics. Roger Ebert eventually placed it in his Great Movies list; a section of movies he claimed to be some of the best ever made. Huston died nearly four months before the film's release date. In the 1996 RTE documentary John Huston: An t-Éireannach, Anjelica said that "it was very important for my father to make that film." She contends that Huston did not think that it was going to be his last film, but that it was his love letter to Ireland and the Irish.[22]

As an actor

Toward the end of his career he also began to act in various films. In 1963, director Otto Preminger asked if he would portray a Boston prelate in The Cardinal, and, writes author Philip Kemp, he "virtually stole the picture."[5] He was nominated for an Academy Award for Best Supporting Actor for his role. He had a little participation (as did many others) in 1967's Casino Royale as actor and director. He acted in Roman Polanski's Chinatown (1974) as the film's master villain, and as Teddy Roosevelt's secretary of state John Hay in The Wind and the Lion. Huston enjoyed acting and denied that he took it all that seriously. "It's a cinch," he once said, "and they pay you damn near as much as you make directing."[5]

Huston said he did not regard himself very highly as an actor, saying he was only proud of his performance in Chinatown, although he had also greatly enjoyed acting in Winter Kills.[26] He also played the Lawgiver in Battle for the Planet of the Apes.

Huston is also famous to a generation of fans of J. R. R. Tolkien's Middle-earth stories as the voice of the wizard Gandalf in the Rankin/Bass animated adaptations of The Hobbit (1977) and The Return of the King (1980).

Huston played the lead in Orson Welles's last completed film The Other Side of the Wind. In it he played an aging filmmaker named Jake Hannaford who was having great problems getting financing for his latest uncompleted film. Much of his portrayal took place in Carefree, Arizona at Southwestern Studio and a nearby mansion in the spring of 1974, but due to political and financial complications, The Other Side of the Wind was not released until the fall of 2018.

Movie themes

Huston's films were insightful about human nature and human predicaments. They also sometimes included scenes or brief dialogue passages that were remarkably prescient concerning environmental issues that came to public awareness in the future, in the period starting about 1970; examples include The Misfits and The Night of the Iguana (1964). Huston spent long evenings carousing in the Nevada casinos after filming, surrounded by reporters and beautiful women, gambling, drinking, and smoking cigars.

According to Kaminsky, Huston's stories were often about "failed quests" by a group of different people. The group would persist in the face of poor odds, doomed at the outset by the circumstances created by an impossible situation.[21] However, some members of the doomed group usually survive, those who are "cool" and "intelligent", or someone who "will sacrifice everything for self-understanding and independence". Those types of characters are exemplified by Bogart in The Maltese Falcon, and Montgomery Clift in Freud.

Another type of quest often seen in Huston's films involve a pair of potential lovers trying to face a hostile world.[21] Flint adds, however, that he "bucked Hollywood's penchant for happy endings", and many of his stories ended with "love unsatisfied".[1]

Film historian James Goodwin adds that in virtually all of his films, there is some type of "heroic quest — even if it involves questionable motives or destructive alliances". In addition, the quest "is preferable to the spiritless, amoral routines of life".[6] As a result, his best films, according to Flint, "have lean, fast-paced scripts and vibrant plots and characterizations, and many of them deal ironically with vanity, avarice and unfulfilled quests".[1]

In the opinion of critics Tony Tracy and Roddy Flynn, "... what fundamentally fascinated Huston was not movies per se — that is, form — but the human condition ... and literature offered a road map for exploring that condition." In many of his films, therefore, he tried to express his interest by developing themes involving some of the "grand narratives" of the twentieth century, such as "faith, meaning, truth, freedom, psychology, colonialism, war and capitalism".[9]:3

To Jameson, all of Huston's films are adaptations, and he believes that through his films there was a "cohesive world-view, not only thematically but also stylistically; there is the Huston look".[5] The "Huston look" was also noted by screenwriter James Agee, who adds that this "look proceeds from Huston's sense of what is natural to the eye and his delicate, simple feeling for space relationships."[5] In any case, notes Flint, Huston took "uncommon care to preserve the writer's styles and values ... and sought repeatedly to transpose the interior essence of literature to film with dramatic and visual tension", as he did in Red Badge of Courage, Moby Dick, and Under the Volcano.[1]

Religion is also a theme that runs through many of Huston's films. In The Night of the Iguana, Kaminsky notes how Richard Burton, while preaching a sermon to his congregation, seems "lost, confused, his speech is gibberish", and leads his congregation to turn away from him. In other films, adds Kaminsky, religion is seen as "part of the fantasy world", that the actors must overcome to survive physically or emotionally. "These religious zealots counsel a move away from the pleasure of the world and human love, a world that Huston believes in," concludes Kaminsky.[21] Such religious themes were also seen in The Bible, and Wise Blood, for example.

To Barson, however, Huston was among the "least consistent" filmmakers, although he concludes that he was one of the "most interesting directors of the past sixty years".[14] Throughout his long career, many of his films did poorly and were criticized as a result. To a writer in 1972 he commented, "Criticism isn't a new experience for me. Pictures that are now thought of as, forgive the term, classics, weren't all that well thought of at the time they came out."[28] After an interview a few years before he died, the reporter writes that "Huston said he missed the major studio era when people savored making movies, not just money."[1]

According to Roger Ebert, on his review of Fat City, "His fascination with underdogs and losers. The characters in Huston movies hardly ever set out to achieve what they're aiming for. Sam Spade, in The Maltese Falcon, Huston's first film, ends up minus one partner and one woman he thought he could trust. Everyone is a loser in The Treasure of the Sierra Madre, and the gold blows back into the dust and is lost in it. Ahab, in Moby Dick. Marlon Brando's career Army officer in Reflections in a Golden Eye, even Bogart and Hepburn in The African Queen – they all fall short of their plans. The African Queen does have a happy ending, but it feels tacked-on and ridiculous, and the Queen destroys itself in destroying the German steamer. So this [Fat City] is a theme we find in Huston's work, but rarely does he fit it to characters and a time and place so well as in Fat City. Maybe that's because Huston knows the territory: he was a professional boxer himself for a while, and not a very good one."[29]

Directing techniques

George Stevens, Jr. notes that while many directors rely on post-production editing to shape their final work, Huston instead created his films while they were being shot: "I don't even know the editor of my films most of the time," Huston said.[13] Actor Michael Caine also observed the same technique: "Most directors don't know what they want so they shoot everything they can think of — they use the camera like a machine gun. John uses it like a sniper."[13]

Film writer Peter Flint also agrees and points out other benefits to that style: "He shot economically, eschewing the many protective shots favored by timid directors, and edited cerebrally so that financial backers would have trouble trying to cut scenes." Huston shot most of his films on location, working "intensely" six days a week, and "on Sundays, played equally intense poker with the cast and crew."[1]

When asked how he envisions his films while directing and what his goals are, Huston replied:

To me the ideal film — which I've never succeeded in making — would be as though the reel were behind one's eyes and you were projecting it yourself, seeing what you wish to see. This has a great deal in common with thought processes ... That's why I think the camera is an eye as well as a mind. Everything we do with the camera has physiological and mental significance.

According to Kaminsky, much of Huston's vision probably came from his early experience as a painter on the streets of Paris. While there, he studied art and worked at it for a year and a half. Huston continued painting as a hobby for most of his life. Kaminsky also notes that most of Huston's films "reflected this prime interest in the image, the moving portrait and the use of color."[21] Huston explored the use of "stylistic framing", especially well-planned close-ups, in much of his directing. In his first film, The Maltese Falcon, for instance, Huston sketched out all of his scenes beforehand, "like canvases of paintings".[21] His daughter, Anjelica Huston, adds that even for his subsequent films, he sketched storyboards "constantly". She agrees that for her father, "it was a form of study, and my father was a painter, a very good one." She also notes that "there was an extremely developed sensory quality about my father, he didn't miss a trick."[9]:20

Awards and honors

Statue of John Huston, Puerto Vallarta, Mexico

Huston received 15 Oscar nominations in the course of his career, and is the oldest person ever to be nominated for the Best Director Oscar when, at 79 years old, he was nominated for Prizzi's Honor (1985). He won two Oscars, for directing and writing the screenplay for The Treasure of the Sierra Madre. Huston also won a Golden Globe for that film. He received the Life Achievement Award from the American Film Institute in 1983,[30] and the Career Achievement Award from the U.S. National Board of Review of Motion Pictures in 1984.[31]

He also has the unique distinction of directing both his father Walter and his daughter Anjelica in Oscar-winning performances (in The Treasure of the Sierra Madre and Prizzi's Honor, respectively), making the Hustons the first family to have three generations of Academy Award winners. He also directed her in Sinful Davey in 1969.[32]

In addition, he also directed 13 other actors in Oscar-nominated performances: Sydney Greenstreet, Claire Trevor, Sam Jaffe, Humphrey Bogart, Katharine Hepburn, José Ferrer, Colette Marchand, Deborah Kerr, Grayson Hall, Susan Tyrrell, Albert Finney, Jack Nicholson and William Hickey.

In 1960, Huston was honored with a star on the Hollywood Walk of Fame for his contribution to motion pictures.

In 1965, Huston received the Laurel Award for Screenwriting Achievement from the Writers Guild of America.

In 1981, his film Escape to Victory was nominated for the Golden Prize at the 12th Moscow International Film Festival.[33]

A statue of Huston, sitting in his director's chair, stands in Plaza John Huston in Puerto Vallarta, Mexico.[34][35]

Personal life and death

John Huston and Angelica
With daughter Anjelica, c. 1960

To producer George Stevens, Jr., Huston symbolized "intellect, charm and physical grace" within the film industry. He adds, "He was the most charismatic of the directors I knew, speaking with a soothing, melodic voice that was often mimicked, but was unique to him."[13]

While driving on Sunset Boulevard on September 25, 1933, Huston struck and killed a pedestrian, a Brazilian dancer named Tosca Roulien. The resulting media frenzy forced Huston to retreat temporarily from public performance, and he took work as a screenwriter instead. A subsequent inquest absolved Huston of any blame for the accident.[36]

Huston loved the outdoors, especially sports such as hunting while living in Ireland. He claimed that he had no orthodox religion.[8]:234 Among his life's adventures before becoming a Hollywood filmmaker, he had been an amateur boxer, reporter, short-story writer, portrait artist in Paris, a cavalry rider in Mexico, and a documentary filmmaker during World War II. Besides sports and adventure, he enjoyed hard liquor and relationships with women of all types — one of the reasons he was married five times. Stevens describes him as someone who "lived life to its fullest".[13] Barson even suggests that Huston's "flamboyant life" as a rebel would possibly make for "an even more engaging tale than most of his movies".[14]

His daughter, Anjelica Huston, notes that he did not like Hollywood, and "especially despised Beverly Hills ... he thought it was just fake from the ground up. He didn't like any of that; he was not intrigued or attracted by it." She notes that, in contrast, "he liked to be in the wild places; he liked animals as much as he liked people."[9]:20

It has been suggested that John Huston was an atheist, but his religious beliefs are hard to determine. His daughter, Anjelica, was raised Roman Catholic.[37]

He was married five times:

  1. Dorothy Harvey (1906–1982) — This marriage ended after a year in 1926. (Steve Hodel states "Their marriage lasted seven years, from 1926 to 1933." Her second husband, Dr. George Hodel, was one of the people accused of the Black Dahlia murder.)[38]
  2. Lesley Black — It was during his marriage to Black that he embarked on an affair with married New York socialite Marietta FitzGerald. While her lawyer husband was helping the war effort, the pair were once rumoured to have made love so vigorously they broke a friend's bed.[39]
  3. Evelyn Keyes (1916–2008) — The Hustons adopted a son Pablo, from Mexico.
  4. Enrica Soma (1929–1969) — They had two children: a daughter, Anjelica Huston, and a son, Walter Antony "Tony" Huston, now an attorney and father of actor Jack Huston. Soma also had a daughter, Allegra Huston, as the result of an extramarital affair with John Julius Norwich; Huston treated the girl as one of his own children following Soma's death four years later.
  5. Celeste Shane — In his autobiography, An Open Book, Huston refers to her as a "crocodile", and states only that if he had his life to do over, he would not marry a fifth time.

Four of his marriages ended in divorce. His fourth wife, Enrica Soma, died in a car accident in 1969, while they were married. In addition to his children with Soma, he fathered a son, actor Danny Huston, with author Zoe Sallis.

Among his friends were George Hodel, Orson Welles and Ernest Hemingway. Humphrey Bogart was one of his best friends and Huston delivered the eulogy at his funeral.

Grave of John Huston and his mother, Rhea, at Hollywood Forever

Huston visited Ireland in 1951 and stayed at Luggala, County Wicklow, the home of Garech Browne, a member of the Guinness family. He visited Ireland several times afterwards and on one of these visits he purchased and restored a Georgian home, St Clerans, of Craughwell, County Galway. Between 1960 and 1971 he served as Master of Fox Hounds (MFH) of the County Galway Hunt – the famous "Galway Blazers" – whose kennels are at Craughwell. He renounced his U.S. citizenship and became an Irish citizen in 1964.[40][41] His daughter Anjelica attended school in Ireland at Kylemore Abbey for a number of years. A film school is now dedicated to him on the NUI Galway campus.

Huston was an accomplished painter who wrote in his autobiography, "Nothing has played a more important role in my life". As a young man, he studied at the Smith School of Art in Los Angeles but dropped out within a few months. He later studied at the Art Students League of New York. He painted throughout his life and had studios in each of his homes. He had owned a wide collection of art, including a notable collection of Pre-Columbian art.[42]

A heavy smoker, he was diagnosed with emphysema in 1978. By the last year of his life he could not breathe for more than twenty minutes without needing oxygen.[43] He died on August 28, 1987, in his rented home in Middletown, Rhode Island, from pneumonia as a complication of lung disease.[44][45] Huston is interred in the Hollywood Forever Cemetery in Hollywood with his mother.


The moving image collection of John Huston is held at the Academy Film Archive. The film material at the Academy Film Archive is complemented by production files, photographs, and personal correspondence found in the John Huston papers, 1932–1981, at the Academy's Margaret Herrick Library.[46]



Year Film Notes
1941 The Maltese Falcon Nominated-Academy Award for Best Writing Adapted Screenplay
1942 In This Our Life
Across the Pacific
1946 Let There Be Light Documentary
1948 The Treasure of the Sierra Madre Academy Award for Best Director
Academy Award for Best Adapted Screenplay
Golden Globe Award for Best Director
New York Film Critics Circle Award for Best Director
Nominated—Venice Film Festival Grand International Award
Key Largo
1949 We Were Strangers
1950 The Asphalt Jungle National Board of Review Award for Best Director
Nominated—Academy Award for Best Director
Nominated—Directors Guild of America Award for Outstanding Directing – Feature Film
Nominated—Golden Globe Award for Best Director
Nominated—New York Film Critics Circle Award for Best Director
Nominated—Venice Film Festival Golden Lion
1951 The Red Badge of Courage
The African Queen Nominated—Academy Award for Best Director
Nominated—New York Film Critics Circle Award for Best Director
1952 Moulin Rouge Venice Film Festival Silver Lion
Nominated—Academy Award for Best Picture
Nominated—Academy Award for Best Director
Nominated—Venice Film Festival Golden Lion
1953 Beat the Devil
1956 Moby Dick Silver Ribbon for Best Foreign Film
National Board of Review Award for Best Director
New York Film Critics Circle Award for Best Director
Nominated—Directors Guild of America Award for Outstanding Directing – Feature Film
1957 Heaven Knows, Mr. Allison Nominated—Directors Guild of America Award for Outstanding Directing – Feature Film
1958 The Barbarian and the Geisha
The Roots of Heaven
1960 The Unforgiven
The Misfits Nominated—Directors Guild of America Award for Outstanding Directing – Feature Film
1962 Freud Nominated—Directors Guild of America Award for Outstanding Directing – Feature Film
Nominated—Golden Globe Award for Best Director
Nominated—Golden Bear for Best Motion Picture
1963 The List of Adrian Messenger
1964 The Night of the Iguana Nominated—Directors Guild of America Award for Outstanding Directing – Feature Film
Nominated—Golden Globe Award for Best Director
1966 The Bible Nominated—David di Donatello for Best Foreign Director
1967 Reflections in a Golden Eye
Casino Royale
1969 Sinful Davey
A Walk with Love and Death
1970 The Kremlin Letter
1972 Fat City
The Life and Times of Judge Roy Bean
1973 The Mackintosh Man
1975 The Man Who Would Be King
1976 Independence Documentary
1979 Wise Blood Nominated—Gold Hugo for Best Feature
Nominated— San Sebastián International Film Festival for Best Film
1980 Phobia
1981 Victory Nominated—Moscow International Film Festival Golden Prize
1982 Annie
1984 Under the Volcano Nominated—Cannes Film Festival Palme d'Or
1985 Prizzi's Honor Boston Society of Film Critics Award for Best Director
Golden Globe Award for Best Director
National Society of Film Critics Award for Best Director
New York Film Critics Circle Award for Best Director
Venice Film Festival Golden Ciak for Best Film
Nominated—Academy Award for Best Director
Nominated—David di Donatello for Best Foreign Director
Nominated—Directors Guild of America Award for Outstanding Directing – Feature Film
Nominated—Silver Ribbon for Best Foreign Director
Nominated—Venice Film Festival Golden Lion
1987 The Dead Bodil Award for Best Non-European Film
French Syndicate of Cinema Critics for Best Foreign Film
Independent Spirit Award for Best Director
London Film Critics Circle Award for Director of the Year
Silver Guild Film Award for Best Foreign Film
Nominated—David di Donatello for Best Foreign Film
Nominated—David di Donatello for Best Foreign Director
Nominated—National Society of Film Critics Award for Best Director
Nominated—New York Film Critics Circle Award for Best Director
Nominated—Tokyo International Film Festival Grand Prix


Year Title Director Notes
1930 The Storm William Wyler (written with Charles Logue, Langdon McCormick, Tom Reed, and Wells Root)
1931 A House Divided (written with John B. Clymer, Olive Edens, and Dale Van Every)
1932 Murders in the Rue Morgue Robert Florey (written with Tom Reed, and Dale Van Every)
1932 Law and Order Edward L. Cahn (written with Tom Reed, and Richard Schayer)
1935 Death Drives Through Edward L. Cahn (written with Katherine Strueby, and Gordon Wellesley)
It Happened in Paris Robert Wyler
Carol Reed
(written with Katherine Strueby, H. F. Maltby)
1938 The Amazing Dr. Clitterhouse Anatole Litvak (written with John Wexley)
Jezebel William Wyler (written with Clements Ripley, Abem Finkel, and Robert Buckner)
1940 Dr. Ehrlich's Magic Bullet William Dieterle (written with Norman Burnstine and Heinz Herald)
Nominated—Academy Award for Best Original Screenplay
1941 High Sierra Raoul Walsh (written with W. R. Burnett)
The Maltese Falcon Himself Nominated—Academy Award for Best Adapted Screenplay
Sergeant York Howard Hawks (written with Abem Finkel, Harry Chandler, and Howard Koch)
Nominated—Academy Award for Best Original Screenplay
1946 The Killers Robert Siodmak (written with Anthony Veiller)
The Three Strangers Jean Negulesco (written with Howard Koch)
1948 The Treasure of the Sierra Madre Himself Academy Award for Best Adapted Screenplay
National Board of Review Award for Best Screenplay
Writers Guild of America Award for Best Written American Western
Nominated—Writers Guild of America Award for Best Written American Drama
Key Largo (written with Richard Brooks)
Nominated—Writers Guild of America Award for Best Written American Drama
1949 We Were Strangers (written with Peter Viertel)
1950 The Asphalt Jungle (written with Ben Maddow)
Nominated—Academy Award for Best Adapted Screenplay
Nominated—Golden Globe Award for Best Screenplay
Nominated—The Robert Meltzer Award (Screenplay Dealing Most Ably with Problems of the American Scene)
Nominated—Writers Guild of America Award for Best Written American Drama
1951 The African Queen (written with James Agee)
Nominated—Academy Award for Best Adapted Screenplay
1952 Moulin Rouge (written with Anthony Veiller)
Nominated—Writers Guild of America Award for Best Written American Drama
1953 Beat the Devil (written with Truman Capote)
1956 Moby Dick (written with Ray Bradbury)
New York Film Critics Circle Award for Best Screenplay (2nd place)
1957 Heaven Knows, Mr. Allison (written with John Lee Mahin)
Nominated—Academy Award for Best Adapted Screenplay
Nominated—Writers Guild of America Award for Best Written American Drama
1961 The Asphalt Jungle Herman Hoffman (written with Ben Maddow; teleplay by George Bellak)
Television; episode "The Professor"
1964 The Night of the Iguana Himself (written with Anthony Veiller)
Nominated—Writers Guild of America Award for Best Written American Drama
1970 The Kremlin Letter (written with Gladys Hill)
1975 The Man Who Would Be King (written with Gladys Hill)
Nominated—Academy Award for Best Adapted Screenplay
Nominated—Writers Guild of America Award for Best Drama Adapted from Another Medium
1988 Mr. North Danny Huston (written with Janet Roach and James Costigan)


Year Title Role Notes
1929 The Shakedown Extra Directed by William Wyler
Hell's Heroes
1930 The Storm
1948 The Treasure of the Sierra Madre American in Tampico in White Suit Also director
1949 We Were Strangers Señor Muñoz
1951 The Red Badge of Courage Grizzled union veteran
1956 Moby Dick Barman / ship's lookout (voice)
1961 The Misfits Extra in Blackjack scene
1962 Freud: The Secret Passion Narrator
The List of Adrian Messenger Lord Ashton
1963 The Cardinal Glennon Directed by Otto Preminger
Golden Globe Award for Best Supporting Actor – Motion Picture
Nominated—Academy Award for Best Supporting Actor
Nominated—Laurel Award for Top Male Supporting Performance
1966 The Bible Noah Also director
The Legend of Marilyn Monroe Narrator Directed by Terry Sanders
1967 Casino Royale M / General McTarry Also co-director
1968 Candy Dr. Arnold Dunlap Directed by Christian Marquand
1969 De Sade The Abbe Directed by Cy Endfield
A Walk with Love and Death Robert the Elder Also director
1970 The Kremlin Letter Admiral
Myra Breckinridge Buck Loner Directed by Michael Sarne
1971 The Bridge in the Jungle Sleigh Directed by Pancho Kohner
The Deserter General Miles Directed by Burt Kennedy
Man in the Wilderness Captain Henry Directed by Richard C. Sarafian
1972 Appointment with Destiny Narrator Episode: "The Crucifixion of Jesus"
The Life and Times of Judge Roy Bean Grizzly Adams Also director
1973 Battle for the Planet of the Apes The Lawgiver Directed by J. Lee Thompson
1974 Chinatown Noah Cross Directed by Roman Polanski
Kansas City Film Critics Circle Award for Best Supporting Actor
Nominated—BAFTA Award for Best Supporting Actor
Nominated—Golden Globe Award for Best Supporting Actor – Motion Picture
1975 Breakout Harris Wagner Directed by Tom Gries
The Wind and the Lion John Hay Directed by John Milius
1976 Sherlock Holmes in New York Professor Moriarty Directed by Boris Sagal
1977 The Rhinemann Exchange Ambassador Henderson Granville Directed by Burt Kennedy
Tentacles Ned Turner Directed by Ovidio G. Assonitis
Angela Hogan Directed by Boris Sagal
The Hobbit Gandalf Directed by Arthur Rankin, Jr., Jules Bass
1978 The Greatest Battle Sean O'Hara Directed by Umberto Lenzi
The Bermuda Triangle Edward Directed by René Cardona, Jr.
The Word Nathan Randall TV miniseries
1979 The Visitor Jerzy Colsowicz Directed by Giulio Paradisi
Winter Kills Pa Kegan Directed by William Richert
Wise Blood Grandfather Also director
Jaguar Lives! Ralph Richards Directed by Ernest Pintoff
1980 The Return of the King Gandalf Directed by Jules Bass, Arthur Rankin, Jr.
Head On Clarke Hill Directed by Michael Grant
1982 Cannery Row Narrator Directed by David S. Ward
Annie Actor on radio Also director
1983 Lovesick Larry Geller, M.D. Directed by Marshall Brickman
A Minor Miracle Father Cardenas Directed by João Fernandes
1985 Alfred Hitchcock Presents Carlos
Episode: "Pilot"
Segment: "Man from the South"
Epic Narrator Directed by Yoram Gross
The Black Cauldron Directed by Ted Berman and Richard Rich
1986 Momo Meister Hora Directed by Johannes Schaaf
1987 Mister Corbett's Ghost Soul collector Directed by Danny Huston
2018 The Other Side of the Wind Jake Hannaford Directed by Orson Welles. [Scenes filmed in 1974–1975].

See also


  1. ^ a b c d e f g h i j k l m n Flint, Peter (August 29, 1987). "John Huston, Film Director, Writer and Actor, Dies at 81". New York Times. Archived from the original on January 11, 2013.
  2. ^
  3. ^ a b Freer, Ian. Moviemakers Quercus (2009), pp. 70–71.
  4. ^ a b Grobel, Lawrence. The Art of the Interview: Lessons from a Master of the Craft, Random House (2004).
  5. ^ a b c d e f g h i j k l m n o p q r s t u Wakeman, John. (Ed.) World Film Directors, Vol. I, 1890–1945, New York, The H. W. Wilson Co. (1987), pp. 485–493.
  6. ^ a b c d e f g h i j k Goodwin, James; Morsberger, Robert E. (editor) American Screenwriters, Gale Research Co. (1984), pp. 164–171.
  7. ^
  8. ^ a b c d e Huston, John. An Open Book, New York. Alfred A. Knopf (1980).
  9. ^ a b c d Tracy, Tony; Flynn, Roddy. John Huston: Essays on a Restless Director, McFarland (2010).
  10. ^ "The Stranger". AFI Catalog of Feature Films. American Film Institute. Retrieved May 10, 2015.
  11. ^ a b c d Grobel, Lawrence. The Hustons, Charles Scribner's Sons, N.Y. (1989)
  12. ^ Sarris, Andrew. The American Cinema: Directors and Directions, 1929–1968 Dutton (1968), pp. 156–158.
  13. ^ a b c d e f g h Stevens, George Jr. Conversations with the Great Moviemakers of Hollywood's Golden Age, New York. Alfred A. Knopf (2006), pp. 335–355.
  14. ^ a b c d e Barson, Michael. The Illustrated Who's Who of Hollywood Directors, Vol 1: The Sound Era Noonday Press (1995), pp. 208–215.
  15. ^ Hepburn, Katharine. The Making of The African Queen, Or, How I Went to Africa with Bogart, Bacall, and Huston and Almost Lost My Mind. 1st ed, Knopf : Distributed by Random House, 1987.
  16. ^ Hoberman, Jim (July 13, 2010). "Voice Choices: White Hunter, Black Heart". The Village Voice. Retrieved 2015-01-04.
  17. ^ Grobel, Lawrence. "Playboy Interview with John Huston", Playboy magazine, September 1985.
  18. ^ Ray Bradbury: An American Icon.
  19. ^ Bradbury, Ray. Green Shadows, White Whale. Harper Perennial, 2002.
  20. ^ Brantley, Ben (October 11, 2004). "Theater Review: Some Like It Hot, Some Like It Painted in Words". The New York Times.
  21. ^ a b c d e f Kaminsky, Stuart M. International Dictionary of Films and Filmmakers: Directors 3rd ed., St. James Press (1997), pp. 459–463.
  22. ^ a b c John Huston: An t-Éireannach. Directed by Brian Reddin, interviews with Anjelica Huston, Louis Marcus, and Ann Fahys, TG4, 1996.
  23. ^ O'Shea, Joe (August 3, 2014). "Irish Film: The Force is with us". Irish Independent. Retrieved February 7, 2017.
  24. ^ Lennon, Peter. Rocky Road to Dublin. Cinematography by Raoul Coutard, 17 May 1968.
  25. ^ "Fat City :: :: Reviews". January 1, 1972.
  26. ^ Long, Robert Emmet John Huston: Interviews (Conversations with Filmmakers) (2001), p. 178.
  27. ^ Grobel, Lawrence. "Playboy Interview with John Huston," Playboy magazine, September 1985.
  28. ^ Life magazine, August 4, 1972, p. 69.
  29. ^ Ebert, Roger. Chicago Sun-Times, film review, January 1, 1972.
  30. ^ "John Huston Accepts the AFI Life Achievement Award in 1983", American Film Institute
  31. ^ "1984 Award Winners". National Board of Review of Motion Pictures. 2016. Retrieved November 7, 2016.
  32. ^ Photo of John and Anjelica Huston on the set of Sinful Davey Archived October 13, 2016, at the Wayback Machine
  33. ^ "12th Moscow International Film Festival (1981)". MIFF. Archived from the original on April 21, 2013. Retrieved January 27, 2013.
  34. ^ Lieber et al. 2007, p. 468.
  35. ^ Greensfelder & Read 2006, p. 64–65.
  36. ^ Meyers, Jeffrey (2011). John Huston: Courage and Art. New York: Crown/Archetype. p. 40. ISBN 9780307590695.
  37. ^ "That character had such a weird internal life." What help could Huston give you? "Not much. I was on my own there. I think Huston was baffled by the script, which was very Catholic, whereas he was a devout atheist." Brad Dourif interviewed by Ryan Gilbey, 'How Weird is Brad?', The Independent (London), December 20, 2002, Features, Pg. 12.
  38. ^
  39. ^ "Running Around in High Circles". The New York Times.
  40. ^ "Veteran Film Producer Becomes Irish Citizen". Spokane Daily Chronicle. January 3, 1964. Retrieved May 14, 2012.
  41. ^ "It's Sean Huston Now". St. Petersburg Times. January 4, 1964. Retrieved May 14, 2012.
  42. ^ Art by Directors, Karl French, Granta 86, 2004, ISBN 0-903141-69-8.
  43. ^ "John Huston Is Not Well But He's Very Much Alive – Chicago Tribune". March 12, 1987. Retrieved March 3, 2013.
  44. ^ "Actor John Huston Warns Others About Emphysema With PM-Obit-Huston Bjt". August 29, 1987. Retrieved March 3, 2013.
  45. ^ Byrne, James Patrick (2008). Philip Coleman, Jason Francis King (ed.). Ireland and the Americas: Culture, Politics, and History : a Multidisciplinary Encyclopedia, Volume 2. ABC-CLIO. p. 442. ISBN 9781851096145. Retrieved May 23, 2013.
  46. ^ "John Huston Collection". Academy Film Archive.

External links

Beat the Devil (film)

Beat the Devil is a 1953 adventure comedy film. The film was directed by John Huston, and starred Humphrey Bogart, Jennifer Jones and Gina Lollobrigida, and featured Robert Morley, Peter Lorre and Bernard Lee. Huston and Truman Capote wrote the screenplay, loosely based upon a novel of the same name by British journalist Claud Cockburn, writing under the pseudonym James Helvick. Huston made the film as a parody of a genre of film. Although often described as a parody of The Maltese Falcon, which Huston directed and in which Bogart and Lorre appeared, this is not the case. Capote said, "John [Huston] and I decided to kid the story, to treat it as a parody. Instead of another Maltese Falcon, we turned it into a ... [spoof] on this type of film."The script, written on a day-to-day basis as the film was shot, concerns the adventures of a motley crew of swindlers and ne'er-do-wells trying to claim land rich in uranium deposits in Kenya as they wait in a small Italian port to travel aboard a tramp steamer en route to Mombasa.

Heaven Knows, Mr. Allison

Heaven Knows, Mr. Allison is a 1957 DeLuxe Color, a CinemaScope film which tells the story of two people stranded on a Japanese-occupied island in the Pacific Ocean during World War II.

The movie was adapted by John Huston and John Lee Mahin from the novel by Charles Shaw and directed by Huston. It was nominated for Academy Awards for Best Actress in a Leading Role (Deborah Kerr) and Best Writing, Screenplay Based on Material from Another Medium.

The movie was filmed on the islands of Trinidad and Tobago. Producer Eugene Frenke later filmed a low-budget variation on the story, The Nun and the Sergeant (1962), starring Frenke's wife Anna Sten.

High Sierra (film)

High Sierra is a 1941 heist film and early film noir written by W.R. Burnett and John Huston from the novel by Burnett. The film features Ida Lupino and Humphrey Bogart and was directed by Raoul Walsh on location at Whitney Portal, halfway up Mount Whitney in the Sierra Nevada of California.The screenplay was co-written by John Huston, Bogart's friend and drinking partner, adapted from the novel by William R. Burnett (also known for, among others, Little Caesar and Scarface). The film cemented a strong personal and professional connection between Bogart and Huston, and provided the breakthrough in Bogart's career, transforming him from supporting player to leading man.

The film contains extensive location shooting, especially in the climactic final scenes, as the authorities pursue Bogart's character, gangster "Mad Dog" Roy Earle, from Lone Pine up to the foot of the mountain.

John Huston (golfer)

Johnny Ray Huston (born June 1, 1961) is an American professional golfer who won seven PGA Tour events and currently plays on the Champions Tour.

John Huston bibliography

A list of books and essays about John Huston:

Brill, Lesley (13 October 1997). John Huston's Filmmaking. Cambridge University Press. ISBN 978-0-521-58670-2.

Huston, John (1994). An Open Book. Perseus Books Group. ISBN 978-0-306-80573-8.

Long, Robert Emmet (1 January 2001). John Huston: Interviews. Univ. Press of Mississippi. ISBN 978-1-57806-328-4.

Luhr, William (1995). The Maltese Falcon: John Huston, Director. Rutgers University Press. ISBN 978-0-8135-2237-1.

Meyers, Jeffrey (27 September 2011). John Huston: Courage and Art. Crown Publishing Group. ISBN 978-0-307-59069-5.

Tracy, Tony; Flynn, Roddy (23 June 2010). John Huston: Essays on a Restless Director. McFarland. ISBN 978-0-7864-5993-3.

John Ricard

John Huston Ricard, S.S.J. (born February 29, 1940) is an African-American prelate of the Roman Catholic Church. He was the fourth Bishop of the Diocese of Pensacola-Tallahassee.

Key Largo (film)

Key Largo is a 1948 American film noir crime drama directed by John Huston and starring Humphrey Bogart, Edward G. Robinson and Lauren Bacall. The supporting cast features Lionel Barrymore and Claire Trevor. The film was adapted by Richard Brooks and Huston from Maxwell Anderson's 1939 play of the same name, which played on Broadway for 105 performances in 1939 and 1940.Key Largo was the fourth and final film pairing of actors Bogart and Bacall, after To Have and Have Not (1944), The Big Sleep (1946), and Dark Passage (1947), although they also appeared together in a television version of The Petrified Forest with Henry Fonda, as a 1955 episode of the anthology series Producer's Showcase. Claire Trevor won the 1948 Academy Award for Best Actress in a Supporting Role for her performance as a drunken ex-singer, the moll of Robinson's character.

Moby Dick (1956 film)

Moby Dick is a 1956 film adaptation of Herman Melville's novel Moby-Dick. It was directed by John Huston with a screenplay by Huston and Ray Bradbury. The film starred Gregory Peck, Richard Basehart, and Leo Genn.

The music score was written by Philip Sainton.

Moulin Rouge (1952 film)

Moulin Rouge is a 1952 British drama film directed by John Huston, produced by John and James Woolf for their Romulus Films company and released by United Artists. The film is set in Paris in the late 19th century, following artist Henri de Toulouse-Lautrec in the city's bohemian subculture in and around the burlesque palace, the Moulin Rouge. The screenplay is by Huston, based on the novel by Pierre La Mure. The cinematography was by Oswald Morris. This film was screened at the 14th Venice International Film Festival where it won the Silver Lion.

The film stars José Ferrer as Toulouse-Lautrec, with Zsa Zsa Gabor as Jane Avril, Suzanne Flon, Eric Pohlmann, Colette Marchand, Christopher Lee, Peter Cushing, Katherine Kath, Theodore Bikel, and Muriel Smith.

Prizzi's Honor

Prizzi's Honor is a 1985 American comedy-drama film directed by John Huston. It stars Jack Nicholson and Kathleen Turner, with Robert Loggia and, in an Academy Award-winning performance, the director's daughter Anjelica Huston.

The film was adapted by Richard Condon and Janet Roach from Condon's 1982 novel of the same name. Alex North's score adapts the music of Giacomo Puccini and Gioachino Rossini.

Stephen B. Grimes

Stephen B. Grimes (18 April 1927 – 12 September 1988) was an English production designer and art director. He won an Oscar and was nominated for two more in the category Best Art Direction.

The African Queen (film)

The African Queen is a 1951 British-American adventure film adapted from the 1935 novel of the same name by C. S. Forester. The film was directed by John Huston and produced by Sam Spiegel and John Woolf. The screenplay was adapted by James Agee, John Huston, John Collier and Peter Viertel. It was photographed in Technicolor by Jack Cardiff and had a music score by Allan Gray. The film stars Humphrey Bogart (who won the Academy Award for Best Actor – his only Oscar), and Katharine Hepburn with Robert Morley, Peter Bull, Walter Gotell, Richard Marner and Theodore Bikel.The African Queen was selected for preservation in the United States National Film Registry in 1994, with the Library of Congress deeming it "culturally, historically or aesthetically significant". The film holds a 98% rating on Rotten Tomatoes, based on 41 reviews.

The Asphalt Jungle

The Asphalt Jungle is a 1950 film noir and heist film directed by John Huston. Based on the 1949 novel of the same name by W. R. Burnett, it tells the story of a jewel robbery in a Midwestern city. The film stars Sterling Hayden, Louis Calhern, Jean Hagen, James Whitmore, Sam Jaffe, and John McIntire, and also features Marilyn Monroe in one of her earliest roles.

The film was nominated for four Academy Awards. In 2008, The Asphalt Jungle was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

The Dead (1987 film)

The Dead is a 1987 feature film directed by John Huston, starring his daughter Anjelica Huston. The Dead was the last film that Huston directed, and it was released posthumously. It was adapted from the short story "The Dead" by James Joyce, which was included in his short works collection Dubliners.

The film takes place in Dublin in 1904 at an Epiphany party held by two sisters and their niece. The story focuses attention on the academic Gabriel Conroy (Donal McCann) and his discovery of his wife Gretta's (Anjelica Huston) memory of a deceased lover.

The Dead was nominated for two Academy Awards—for Best Adapted Screenplay and for Best Costume Design.

The Maltese Falcon (1941 film)

The Maltese Falcon is a 1941 film noir with screenplay by and directed by John Huston in his directorial debut, and based on Dashiell Hammett's 1930 novel of the same name. The film stars Humphrey Bogart as private investigator Sam Spade and Mary Astor as his femme fatale client. Gladys George, Peter Lorre, and Sydney Greenstreet co-star, with Greenstreet appearing in his film debut. The story follows a San Francisco private detective and his dealings with three unscrupulous adventurers, all of whom are competing to obtain a jewel-encrusted falcon statuette.The film premiered on October 3, 1941, in New York City, and was nominated for three Academy Awards. The Maltese Falcon was selected for inclusion in the Library of Congress' National Film Registry in 1989.The Maltese Falcon is a part of Roger Ebert's Great Movies series and was cited by Panorama du Film Noir Américain as the first major film noir.

The Man Who Would Be King (film)

The Man Who Would Be King is a 1975 Technicolor adventure film adapted from the Rudyard Kipling novella of the same name. It was adapted and directed by John Huston and starred Sean Connery, Michael Caine, Saeed Jaffrey, and Christopher Plummer as Kipling (giving a name to the novella's anonymous narrator). The film follows two rogue ex-soldiers, former non-commissioned officers in the British Army, who set off from late 19th-century British India in search of adventure and end up in faraway Kafiristan, where one is taken for a god and made their king.

The Red Badge of Courage (film)

The Red Badge of Courage is a 1951 war film made by MGM. Directed by John Huston, it was produced by Gottfried Reinhardt with Dore Schary as executive producer. The screenplay is by John Huston, adapted by Albert Band from Stephen Crane's novel of the same name. The cinematography is by Harold Rosson, and the music score by Bronislau Kaper. The making of this film is the subject of Lillian Ross's 1952 book Picture, originally in The New Yorker.

The American Civil War film is a sparse but faithful retelling of the story, incorporating narration from the text to move the plot forward. Audie Murphy, a hero of World War II who later went into acting, played the lead role of Henry Fleming. Other actors include cartoonist Bill Mauldin, Andy Devine, Arthur Hunnicutt and Royal Dano.

The Treasure of the Sierra Madre (film)

The Treasure of the Sierra Madre is a 1948 American dramatic adventurous neo-western written and directed by John Huston. It is an adaptation of B. Traven's 1927 novel of the same name, set in the 1920s, in which, driven by their desperate economic plight, two young men, Fred C. Dobbs (Humphrey Bogart) and Bob Curtin (Tim Holt), join old-timer Howard (Walter Huston, the director's father) in Mexico to prospect for gold.

The Treasure of the Sierra Madre was one of the first Hollywood productions to be shot on location outside the United States (in the state of Durango with street scenes in Tampico, Mexico), although many scenes were filmed back in the studio and elsewhere in the US. The movie is quite faithful to the source novel. In 1990, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

Films directed by John Huston
Short Films
Awards for John Huston

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