HUSTON DIRECTORS, 4 EDItION and American audiences couldn,t get enough of Howards family HUILLET. Daniele alues, and he followed up with Cocoon ll as well as willow, another lavish but far less successful fantasy. See straub. Jean-Marie, and Daniele HULLET In 1985 Howard joined forces with producer Brian Grazer to form Imagine Films Entertainment. Their company, with Howard as ex- cutive producer, oversaw such popular 1980s fare as Clean and huSToN John Sober and The 'Burbs. But whenever Howard took the helm as director, audiences came to expect comforting, sweet, and often Nationality: Irish/American. Born: John Marcellus Huston, son of humorous films such as Parenthood (1991). actor Walter, in Nevada, Missouri, 5 August 1906, became Irish In the early 1990s Howard began to expand his vision, bringing citizen, 1964. Education: Attended boarding school in Los Angeles more ambitious fare to the screen-from the firefighting romance- and at Lincoln High School, Los Angeles, 1923-24. Military Serv adventure Backdraft(1992); to the Tom Cruise-Nicole Kidman Irish- ice: Served in Signal Corps, Army Pictorial Service, 1942-45, American epic Far and Away(1992); to the comedy-drama about discharged at rank of major. Family: Married 1)Dorothy Jeanne tabloid journalism, The Paper (1994). But Howards somewhat Harvey, 1926(divorced 1933): 2)Leslie Black, 1937(divorced entimental, all-American values continued to permeate his cine- 1944); 3)Evelyn Keyes, 1946(divorced 1950), one adopted son; 4)Ricki Soma, 1950(died 1969), one son, two daughters including In 1995 Howard assembled an all-star cast led by Tom Hanks to actress Anjelica; also son Daniel by Zoe Sallis; 5)Celeste Shane, take on his most challenging film to date. Apollo 13 depicts the near- 1972( divorced 1977). Career: Doctors in St. Paul, Minnesota, disastrous lunar mission in April 1970. But the film is as much about diagnose Huston with enlarged heart and kidney disease, taken to the heroism of the men and women of nasa and about america pace program in general. Roger Ebert wrote, ""Ron Howards film of York, 1924; competition horseman, Mexico, 1927; journalist in New tis mission is directed with a single-mindedness and attention to York, 1928-30: scriptwriter and actor in Hollywood, 1930: worked detail that makes it riveting.. He knows he has a great story, and for Gaumont-British. London. 1932. moved to Paris with intention of tells it in a docudrama that feels like it was filmed on location in outer studying painting, 1933; returned to New York, editor Midweek pace. "Hailed by critics and audiences alike as one of the year's best Pictorial, stage actor, 1934; writer for Waner Bros, Hollywood, films, Apollo 13 earned Howard the Directors Guild Award for 1995 Howard followed up his success on Apollo 13 with the rather Wyler and Philip Dunne, formed Committee for the 1st Amendment mindless Mel Gibson adventure Ransom. But his next film, Inventing counteract HUAC investigation, 1947; formed Horizon Pictures he Abbotts, brought Howard back to more familiar territory--the with Sam Spiegel, 1948; formed John Huston Productions for unrealized 1950s. This time the mature Howard delved beneath the happy veneer project Matador, 1952; moved to Ireland, 1955; narrator for TV, from of small-town America. Blessed with what one critic called " the most beautiful cast in the world, Howard examined repressed Armed Services, 1944: Oscar for Best Direction, for Treasure of the enage angst and explored crises of sex, love, and identity at the Sierra Madre, 1947. Died: Of pneumonia, in Newport, Rhode Island intersection of rich and poor in Middle America. Though the fresh, crisp, and pretty feel of the film was very Howardesque, the themes ran deeper than many of his previous efforts. The same held true of his 1999 comedy, Ed TV, a satire about late Films as director: twentieth-century celebrity. Starring Matthew McConaughy and Jenna 1941 The Maltese Falcon (+ sc) Elfman. Howard tried to use humor to skewer Americas obsession with fame. Though the picture was moderately well received, it 1942 In This Our Life(+ co-sC, uncredited); Across the Pacific demonstrated the increasing depth of Howard's thematic interests. Ron howard once remarked that he became a director in order to 1943 Report from the Aleutians(+ sc): Tunisian Victory( Capra Boulting: d some replacement scenes when footage avoid being typecast as an actor. He has also refused to be typecast as a director. Although all of his films are explorations of the human 1945 San Pietro(The Battle of San Pietro)(+sc, co-ph, narration) experience, he has ventured into many genres-science fiction fantasy, epic adventure, romance, comedy, drama, satire-as well as Can Happen(On Our Merry Way)(King Vidor and Fenton into countless worlds. Ultimately, Howard sees himself and his some Henry Fonda/James Stewart sequences, uncredited) directorial career as a work in progress. He has said, "One of the great 1948 The Treasure of the Sierra Madre(+ sc, bit role as man things about being a director as life choice is that it can never be white suit); Key Largo (+ co-sc) mastered. Every story is its own kind of expedition, with its own set of 1949 We Were Strangers(+ co-sc, bit role as bank clerk) 1950 The Asphalt Jungle(+ co-sc) It would be impossible to guess what the future will hold for 1951 The Red Badge of courage(+sc) Howard, other than that he will undoubtedly continue to make films at 1952 The African Queen(+co-sc) the brisk pace of roughly or ar, and he will explore the human 1953 Moulin Rouge(+ pr, co-sc) condition with the all-American values and respect for Hollywood 1954 Beat the Devil (+ co-pr, co-sc) tradition inculcated as a child playing all-American boys beloved by 1956 Moby Dick(+ pr, co-sc) all-American audiences 1957 Heaven Knows, Mr. Allison(+ co-sc); A Farewell to Arms Charles Vidor; d begun by Huston) - Victoria Price 1958 The Barbarian and the Geisha; The roots of Heaven
HUSTON DIRECTORS, 4th EDITION 450 and American audiences couldn’t get enough of Howard’s family values, and he followed up with Cocoon II as well as Willow, another lavish but far less successful fantasy. In 1985 Howard joined forces with producer Brian Grazer to form Imagine Films Entertainment. Their company, with Howard as executive producer, oversaw such popular 1980s fare as Clean and Sober and The ‘Burbs. But whenever Howard took the helm as director, audiences came to expect comforting, sweet, and often humorous films such as Parenthood (1991). In the early 1990s Howard began to expand his vision, bringing more ambitious fare to the screen—-from the firefighting romanceadventure Backdraft (1992); to the Tom Cruise-Nicole Kidman IrishAmerican epic Far and Away (1992); to the comedy-drama about tabloid journalism, The Paper (1994). But Howard’s somewhat sentimental, all-American values continued to permeate his cinematic vision. In 1995 Howard assembled an all-star cast led by Tom Hanks to take on his most challenging film to date. Apollo 13 depicts the neardisastrous lunar mission in April 1970. But the film is as much about the heroism of the men and women of NASA, and about America’s space program in general. Roger Ebert wrote, ‘‘Ron Howard’s film of this mission is directed with a single-mindedness and attention to detail that makes it riveting. . . . He knows he has a great story, and he tells it in a docudrama that feels like it was filmed on location in outer space.’’ Hailed by critics and audiences alike as one of the year’s best films, Apollo 13 earned Howard the Directors Guild Award for 1995. Howard followed up his success on Apollo 13 with the rather mindless Mel Gibson adventure Ransom. But his next film, Inventing the Abbotts, brought Howard back to more familiar territory—the 1950s. This time the mature Howard delved beneath the happy veneer of small–town America. Blessed with what one critic called ‘‘the most beautiful cast in the world,’’ Howard examined repressed teenage angst and explored crises of sex, love, and identity at the intersection of rich and poor in Middle America. Though the fresh, crisp, and pretty feel of the film was very Howardesque, the themes ran deeper than many of his previous efforts. The same held true of his 1999 comedy, Ed TV, a satire about late twentieth-century celebrity. Starring Matthew McConaughy and Jenna Elfman, Howard tried to use humor to skewer America’s obsession with fame. Though the picture was moderately well received, it demonstrated the increasing depth of Howard’s thematic interests. Ron Howard once remarked that he became a director in order to avoid being typecast as an actor. He has also refused to be typecast as a director. Although all of his films are explorations of the human experience, he has ventured into many genres—science fiction, fantasy, epic adventure, romance, comedy, drama, satire—as well as into countless worlds. Ultimately, Howard sees himself and his directorial career as a work in progress. He has said, ‘‘One of the great things about being a director as life choice is that it can never be mastered. Every story is its own kind of expedition, with its own set of challenges.’’ It would be impossible to guess what the future will hold for Howard, other than that he will undoubtedly continue to make films at the brisk pace of roughly one a year, and he will explore the human condition with the all-American values and respect for Hollywood tradition inculcated as a child playing all-American boys beloved by all-American audiences. —Victoria Price HUILLET, Danièle See STRAUB, Jean-Marie, and Danièle HULLET HUSTON, John Nationality: Irish/American. Born: John Marcellus Huston, son of actor Walter, in Nevada, Missouri, 5 August 1906, became Irish citizen, 1964. Education: Attended boarding school in Los Angeles and at Lincoln High School, Los Angeles, 1923–24. Military Service: Served in Signal Corps, Army Pictorial Service, 1942–45, discharged at rank of major. Family: Married 1) Dorothy Jeanne Harvey, 1926 (divorced 1933); 2) Leslie Black, 1937 (divorced 1944); 3) Evelyn Keyes, 1946 (divorced 1950), one adopted son; 4) Ricki Soma, 1950 (died 1969), one son, two daughters including actress Anjelica; also son Daniel by Zoë Sallis; 5) Celeste Shane, 1972 (divorced 1977). Career: Doctors in St. Paul, Minnesota, diagnose Huston with enlarged heart and kidney disease; taken to California for cure, 1916; boxer in California, 1920s; actor in New York, 1924; competition horseman, Mexico, 1927; journalist in New York, 1928–30; scriptwriter and actor in Hollywood, 1930; worked for Gaumont-British, London, 1932; moved to Paris with intention of studying painting, 1933; returned to New York, editor Midweek Pictorial, stage actor, 1934; writer for Warner Bros., Hollywood, 1936; directed first film, The Maltese Falcon, 1941; with William Wyler and Philip Dunne, formed Committee for the 1st Amendment to counteract HUAC investigation, 1947; formed Horizon Pictures with Sam Spiegel, 1948; formed John Huston Productions for unrealized project Matador, 1952; moved to Ireland, 1955; narrator for TV, from mid-1960s; moved to Mexico, 1972. Awards: Legion of Merit, U.S. Armed Services, 1944; Oscar for Best Direction, for Treasure of the Sierra Madre, 1947. Died: Of pneumonia, in Newport, Rhode Island, 28 August 1987. Films as Director: 1941 The Maltese Falcon (+ sc) 1942 In This Our Life (+ co-sc, uncredited); Across the Pacific (co-d) 1943 Report from the Aleutians (+ sc); Tunisian Victory (Capra and Boulting; d some replacement scenes when footage lost, + co-commentary) 1945 San Pietro (The Battle of San Pietro) (+ sc, co-ph, narration) 1946 Let There Be Light (unreleased) (+ co-sc, co-ph); A Miracle Can Happen (On Our Merry Way) (King Vidor and Fenton; d some Henry Fonda/James Stewart sequences, uncredited) 1948 The Treasure of the Sierra Madre (+ sc, bit role as man in white suit); Key Largo (+ co-sc) 1949 We Were Strangers (+ co-sc, bit role as bank clerk) 1950 The Asphalt Jungle (+ co-sc) 1951 The Red Badge of Courage (+ sc) 1952 The African Queen (+ co-sc) 1953 Moulin Rouge (+ pr, co-sc) 1954 Beat the Devil (+ co-pr, co-sc) 1956 Moby Dick (+ pr, co-sc) 1957 Heaven Knows, Mr. Allison (+ co-sc); A Farewell to Arms (Charles Vidor; d begun by Huston) 1958 The Barbarian and the Geisha; The Roots of Heaven
DIRECTORS, 4 EDITION HUSTON 1960 The Unforgiven El triangulo diabolico de la Bermudas (Triangle: The 1961 The Misfits Bermuda Mystery; The Mystery of the Bermuda Triangle) 1963 Freud(Freud: The Secret Passion)(+ narration); The List of Cardona)(role): Angela(Sagal)(role) 1964 The Night of the Iguana(+ co-pr, COrey aShton) Adrian Messenger (+ bit role as lord 1978 1 visitator(The Visitor)(Paradisi)(role) 1979 Jaguar Lives(Pintoff)(role); Winter Kills(Richert)(role) 1965 La bibbia(The Bible)(+role, narration) 1967 Casino Royale (co-d, role): Reflections in a Golden Eye 1980 Head On( Grant)(role); Agee(Spears)(role as interviewee) 1981 To the Western World(Kinmonth)(narrator) ( voice heard at films beginning) 1982 Cannery Row(Ward)(narrator) 1969 Sinful Davey, A Walk with Love and Death(+ role); De Sade 1983 Lovesick(Brickman)(role as psychiatrist) Enfield; d uncredited)(+ role as the Abbe) 1970 The Kremlin Letter(+ co-sc, role) 1971 The Last Run(Fleischer, d begun by Huston) 1972 Far City(+ Co-pr): The Life and Times of Judge Roy Bean Publications ( role as grizzly Adams) 973 The Mackintosh Man By HUSTON: books- 1975 The Man Who Would Be King (+ co-sc frankie and Johnny. New York, 1930 1979 Wise blood (+ rol The Maltese Falcon. New York, 1974 1980 Phobia The Treasure of the Sierra Madre, edited by James Naremore 1981 Victory(Escape to Victory) Madison, wisconsin, 1979. 1982 Annie The Asphalt Jungle, with Ben Maddow, Carbondale, Illinois, 1980. 1984 Under the volcano An Open Book, New York, 1980. 1985 Prizzi's Honor Juarez, with Aeneas Mackenzie and wolfgang reinhardt, Madison, 1987 The dead Wisconsin. 1983 Reflections in a Male Eye: John Huston and the American Experi- ence, edited by Gaylyn Studlar and David Desser, Washing Other films: ton,1993. 1929 The Shakedown(Wyler)(small role); Hell,'s Heroes(Wyler) By HuSTON: articles- 1930 The Storm(Wyler)(small role) Interview with Karel Reisz, in Sight and Sound (London), January/ 1931 A House Divided(wyler)(dialogue, sc) March 1952 932 Murder in the Rue morgue )(dialogue, sc) 1935 It Started in Paris(Robert Wyler)(co-adapt, sc); Death How I Make Films. interview with Gideon Bachmann. in Film Drives Through(Cahn)(co-story, sc) Quarterly(Berkeley), Fall 1965 Huston!, 'interview with C. Taylor and G. O'Brien, in Inter/View 1938 Jezebel (Wyler)(co-sc); The Amazing Dr Clitterhouse (Litvak) New York), September 1972 Talk with John Huston, with D. Ford, in Action (Los angeles) 1939 Juarez(Dieterle)(co-sc) 1940 The Story of Dr. Ehrlich's Magic Bullet(Dr. Ehrlich's Magic September/October 1972 The Innocent Bystander, interview with D. Robinson, in Sight ane Bullet) (Dieterle)(co-sc) Sound (London ), winter 1972/73 High Sierra(Walsh)(co-sc): Sergeant York(Hawks)(co-sc) he Killers(Siodmak)(sc, uncredited); The Stranger(Welles) Talking with John Huston, with Gene Phillips, in Film Comment (co-SC, uncredited); Three Strangers(Negulesco)(co-sc) New York), May/June 1973 1951 Quo Vadis (LeRoy)(pre-production work) Interview with D. Brandes, in Filmmakers Newsletter (ward hill 1963 The Cardinal(Preminger)(role as Cardinal Glennon); The Massachusetts), July 1977 Directors(pr: Greenblatt, short)(appearance) terview with P.S. Greenberg, in Rolling Stone(New York), June/ July 1981 1968 Candy(Marquand)(role as Dr. Dunlap); The Rocky Road to"Dialogue on Film: John Huston, "in American Film(Washington, Dublin(Lennon)(role as interviewee) 1970 Myra Breckenridge(Sarne)(role as Buck Loner) D. C ) January/February 1984 1971 The Bridge in the Jungle (Kohner)(role as Sleigh); The Interview with Michel Ciment and D. Allison, in Positif(Paris) October 1987 Deserter(Kennedy)(role as General Miles ): Man in the Wilderness(Sarafian)(role as Captain Henry) 1974 Battle for the Planet of the Apes (Thompson)(role as Law- On HUSTON: books- Milius)(role as John hay Allais. Jean-Claude, John Huston. Paris. 1960. 1976 Sherlock Holmes in New York(Sagal)(role as Professor Agee, James, Agee on Film: Five Film Scripts, foreword by Johi Moriarty) Huston. Boston. 1965 1977 Tentacles(Hellman)(role as Ned Turner); II grande attacco Nolan, william, John Huston, King Rebel, Los Angeles, 1965 (La battaglia di Mareth The Biggest Battle)(Lenzi)(role): Benayoun, Robert, John Huston, Paris, 1966; revised edition, 1985 451
DIRECTORS, 4 HUSTON th EDITION 451 1960 The Unforgiven 1961 The Misfits 1963 Freud (Freud: The Secret Passion) (+ narration); The List of Adrian Messenger (+ bit role as Lord Ashton) 1964 The Night of the Iguana (+ co-pr, co-sc) 1965 La bibbia (The Bible) (+ role, narration) 1967 Casino Royale (co-d, role); Reflections in a Golden Eye (+ voice heard at film’s beginning) 1969 Sinful Davey; A Walk with Love and Death (+ role); De Sade (Enfield; d uncredited) (+ role as the Abbe) 1970 The Kremlin Letter (+ co-sc, role) 1971 The Last Run (Fleischer; d begun by Huston) 1972 Fat City (+ co-pr); The Life and Times of Judge Roy Bean (+ role as Grizzly Adams) 1973 The Mackintosh Man 1975 The Man Who Would Be King (+ co-sc) 1976 Independence (short) 1979 Wise Blood (+ role) 1980 Phobia 1981 Victory (Escape to Victory) 1982 Annie 1984 Under the Volcano 1985 Prizzi’s Honor 1987 The Dead Other Films: 1929 The Shakedown (Wyler) (small role); Hell’s Heroes (Wyler) (small role) 1930 The Storm (Wyler) (small role) 1931 A House Divided (Wyler) (dialogue, sc) 1932 Murders in the Rue Morgue (Florey) (dialogue, sc) 1935 It Started in Paris (Robert Wyler) (co-adapt, sc); Death Drives Through (Cahn) (co-story, sc) 1938 Jezebel (Wyler) (co-sc); The Amazing Dr. Clitterhouse (Litvak) (co-sc) 1939 Juarez (Dieterle) (co-sc) 1940 The Story of Dr. Ehrlich’s Magic Bullet (Dr. Ehrlich’s Magic Bullet) (Dieterle) (co-sc) 1941 High Sierra (Walsh) (co-sc); Sergeant York (Hawks) (co-sc) 1946 The Killers (Siodmak) (sc, uncredited); The Stranger (Welles) (co-sc, uncredited); Three Strangers (Negulesco) (co-sc) 1951 Quo Vadis (LeRoy) (pre-production work) 1963 The Cardinal (Preminger) (role as Cardinal Glennon); The Directors (pr: Greenblatt, short) (appearance) 1968 Candy (Marquand) (role as Dr. Dunlap); The Rocky Road to Dublin (Lennon) (role as interviewee) 1970 Myra Breckenridge (Sarne) (role as Buck Loner) 1971 The Bridge in the Jungle (Kohner) (role as Sleigh); The Deserter (Kennedy) (role as General Miles); Man in the Wilderness (Sarafian) (role as Captain Henry) 1974 Battle for the Planet of the Apes (Thompson) (role as Lawgiver); Chinatown (Polanski) (role as Noah Cross) 1975 Breakout (Gries) (role as Harris); The Wind and the Lion (Milius) (role as John Hay) 1976 Sherlock Holmes in New York (Sagal) (role as Professor Moriarty) 1977 Tentacles (Hellman) (role as Ned Turner); Il grande attacco (La battaglia di Mareth; The Biggest Battle) (Lenzi) (role); El triangulo diabolico de la Bermudas (Triangle: The Bermuda Mystery; The Mystery of the Bermuda Triangle) (Cardona) (role); Angela (Sagal) (role) 1978 Il visitatore (The Visitor) (Paradisi) (role) 1979 Jaguar Lives (Pintoff) (role); Winter Kills (Richert) (role) 1980 Head On (Grant) (role); Agee (Spears) (role as interviewee) 1981 To the Western World (Kinmonth) (narrator) 1982 Cannery Row (Ward) (narrator) 1983 Lovesick (Brickman) (role as psychiatrist) Publications By HUSTON: books— Frankie and Johnny, New York, 1930. The Maltese Falcon, New York, 1974. The Treasure of the Sierra Madre, edited by James Naremore, Madison, Wisconsin, 1979. The Asphalt Jungle, with Ben Maddow, Carbondale, Illinois, 1980. An Open Book, New York, 1980. Juarez, with Aeneas Mackenzie and Wolfgang Reinhardt, Madison, Wisconsin, 1983. Reflections in a Male Eye: John Huston and the American Experience, edited by Gaylyn Studlar and David Desser, Washington, 1993. By HUSTON: articles— Interview with Karel Reisz, in Sight and Sound (London), January/ March 1952. ‘‘How I Make Films,’’ interview with Gideon Bachmann, in Film Quarterly (Berkeley), Fall 1965. ‘‘Huston!,’’ interview with C. Taylor and G. O’Brien, in Inter/View (New York), September 1972. ‘‘Talk with John Huston,’’ with D. Ford, in Action (Los Angeles), September/October 1972. ‘‘The Innocent Bystander,’’ interview with D. Robinson, in Sight and Sound (London), Winter 1972/73. ‘‘Talking with John Huston,’’ with Gene Phillips, in Film Comment (New York), May/June 1973. Interview with D. Brandes, in Filmmakers Newsletter (Ward Hill, Massachusetts), July 1977. Interview with P.S. Greenberg, in Rolling Stone (New York), June/ July 1981. ‘‘Dialogue on Film: John Huston,’’ in American Film (Washington, D.C.), January/February 1984. Interview with Michel Ciment and D. Allison, in Positif (Paris), October 1987. On HUSTON: books— Davay, Paul, John Huston, Paris, 1957. Allais, Jean-Claude, John Huston, Paris, 1960. Agee, James, Agee on Film: Five Film Scripts, foreword by John Huston, Boston, 1965. Nolan, William, John Huston, King Rebel, Los Angeles, 1965. Benayoun, Robert, John Huston, Paris, 1966; revised edition, 1985
HUSTON DIRECTORS, 4 EDItION Cecchini. Riccardo, John Huston. 1969 Buckley, M, obituary in Films in Review(New York), Novem- Tozzi, Romano, John Huston, A Picture Treasury of His Films, New Combs. Richard. "John Huston: An Account of One Man Dead in Kaminsky, Stuart, John Huston.: Maker of Magic, London, 1978 Monthly Film Bulletin(London), December 198 Madsen, Axel, John Huston, New York, 1978 Literature/Film Quarterly (Salisbury, Maryland), vol. 17, no Giannetti, Louis D, Masters of the American Cinema, Englewood 2and4,1989 Cliffs, New Jersey, 1981 American Film(Washington, D. C ) June 1989 Hammen, Scott, John Huston, Boston, 1985 Grobel. L."Talent to Burn, in Movieline. March 1990 Ciment. Gilles. editor John Huston. Paris. 1987. Denby, D, "A Good Man Is Hard to Find, in Premiere, July 1990 McCarty, John, The Films of John Huston, Secaucus, New Jer Richards, Peter, ""Huston's Killer Comedy, in Film Comment(New York), May/June 1991 Grobel, Lawrence, The Hustons, New York, 1989: updated, 2000 Hagen, WM,"Under Hustons ' Volcano, in Literature/Film Studlar, Gaylyn, and David Desser, editors, Reflections in a Male Quarterly(Salisbury, Maryland), vol. 19, no 3, 1991 Eye: John Huston and the American Experience, Washington, James, C, "John Huston: The Director as Monster, in New York D.C.,1993 imes, 9 August 1992. ooper, Stephen, editor, Perspectives on John Huston, New York, 1994. Edelman, Lee, ""Plasticity, Paternity, Perversity: Freud's'Falcon,' Luhr, William, editor, The Maltese Falcon:John Huston, Director. Huston's ' Freud, in American Imago, Spring 1994 New Brunswick, New Jersey, 1995 Magny, Joel, ""Huston et les mythes, 'in Cahiers du Cinema(Paris) Brill, Lesley, John Huston's Filmmaking, Cambridge and New no 495. October 1995 York, 1997. Cohen, Allen, and Harry Lawton, John Huston: A Guide to Refer On HUSToN: films- ences and Resources. New York. 1997 On HUSToN: articles- Kronick, William, On Location: The Night of the iguana, for TV U.S1964. Graef, Roger, The Life and Times of John Huston, Esquire, Great Huston Issues"of Positif(Paris), August 1952 and January 1957 Mage, David,"The Way John Huston Works, "in Films in Review Joyce, Paul, Ride This Way Grey Horse, Great Britain, 1970 (New York), October 1952 Laurot, Edouard, 'An Encounter with John Huston, in Film Culture Huston, Danny, The Making of The Dead, U.S., 1989 (New York), no 8, 1956 Archer, Eugene, " John Huston-The Hemingway Tradition in Ameri- can Film, in Film Culture(New York ). no. 19, 1959 John huston. The bible and james bond. in Cahiers du cinema in English(New York ). no 5, 1966 nting a has John huston and, perhaps. none has been given as litle Koningsberger. Hans, ""From Book to Film-via John Huston. in credit for this interest. This lack of recognition is not completely Film Quarterly(Berkeley), Spring 1969 surprising. Criticism of film, despite the forms visual nature, has Huston Issue" of Film Comment(New York), May/June 1973 tended to be derived primarily from literature and not from painting Bachmann, Gideon, ""Watching Huston, in Film Comment(New r, as might be more reasonable a combination of the traditions of York), January/February 1976 literature, painting, theater, and the unique forms of film itself. Jameson, R.T., "John Huston, in Film Comment(New York), May/ In a 1931 profile in The American Mercury that accompanied June 1980 a short story by John Huston, the future director said that he wanted to Drew. B."John Huston: At 74 No Formulas. 'in American Film write a book on the lives of French painters. The following year, Washington, D.C.), September 1980 unable to or dissatisfied with work as a film writer in London huston Millar, G, *John Huston, in Sight and Sound (London), Su moved to Paris to become a painter. He studied for a year and a half. making money by painting portraits on street corners and singing for John Huston, in Film Dope(London), January 1983. pennies. Even after he became an established film director, Huston Hachem, S, "Under the Volcano, in American Cinematographer continued to indulge his interest in painting, "retiring"from filmmaking (Los Angeles), October 1984 from time to time to concentrate on his painting Combs, Richard, The Man Who Would Be Ahab: The Myths and Each of Huston,'s films has refected this prime interest in the Masks of John Huston, "in Monthly Film Bulletin(London), image, the moving portrait, and the use of color-as well as the poetic December 1985 possibilities of natural dialogue. Each film has been a moving canvas Huston Issue"of Positif( Paris), January 1986 on which Huston explores his main subject: the effect of the individ Taylor, John Russell, "John Huston: The Filmmaker as Dandy, "in ual ego on the group and the possibility of the individuals survival. Films and Filming(London), August 1986 Huston began exploring his style of framing in his first film. The Edgerton, G, ""Revisiting the recordings of Wars Past: Remember es, he set up shots ing the Documentary Trilogy of John Huston, in Journal of canvases of paintings he had studied. Specifically, Huston showed an Popular Film and TV (Washington, D. C ) Spring 1987 interest in characters appearing in the foreground of a shot, with their McCarthy, T, obituary, in Variety(New York), 2 September 1987 faces often covering half the screen. Frequently, too, the person Schulz-Keil, W, and B. Walker, "" Huston, 'in Film Comment(New whose face half fills the screen is not talking, but listening. The person York), September/October 1987 reacting thus becomes more important than the one speaking or m
HUSTON DIRECTORS, 4th EDITION 452 Cecchini, Riccardo, John Huston, 1969. Tozzi, Romano, John Huston, A Picture Treasury of His Films, New York, 1971. Kaminsky, Stuart, John Huston: Maker of Magic, London, 1978. Madsen, Axel, John Huston, New York, 1978. Giannetti, Louis D., Masters of the American Cinema, Englewood Cliffs, New Jersey, 1981. Hammen, Scott, John Huston, Boston, 1985. Ciment, Gilles, editor, John Huston, Paris, 1987. McCarty, John, The Films of John Huston, Secaucus, New Jersey, 1987. Grobel, Lawrence, The Hustons, New York, 1989; updated, 2000. Studlar, Gaylyn, and David Desser, editors, Reflections in a Male Eye: John Huston and the American Experience, Washington, D.C., 1993. Cooper, Stephen, editor, Perspectives on John Huston, New York, 1994. Luhr, William, editor, The Maltese Falcon: John Huston, Director, New Brunswick, New Jersey, 1995. Brill, Lesley, John Huston’s Filmmaking, Cambridge and New York, 1997. Cohen, Allen, and Harry Lawton, John Huston: A Guide to References and Resources, New York, 1997. On HUSTON: articles— ‘‘Huston Issues’’ of Positif (Paris), August 1952 and January 1957. Mage, David, ‘‘The Way John Huston Works,’’ in Films in Review (New York), October 1952. Laurot, Edouard, ‘‘An Encounter with John Huston,’’ in Film Culture (New York), no. 8, 1956. Archer, Eugene, ‘‘John Huston—The Hemingway Tradition in American Film,’’ in Film Culture (New York), no. 19, 1959. ‘‘John Huston, The Bible and James Bond,’’ in Cahiers du Cinéma in English (New York), no. 5, 1966. Koningsberger, Hans, ‘‘From Book to Film—via John Huston,’’ in Film Quarterly (Berkeley), Spring 1969. ‘‘Huston Issue’’ of Film Comment (New York), May/June 1973. Bachmann, Gideon, ‘‘Watching Huston,’’ in Film Comment (New York), January/February 1976. Jameson, R.T., ‘‘John Huston,’’ in Film Comment (New York), May/ June 1980. Drew, B., ‘‘John Huston: At 74 No Formulas,’’ in American Film (Washington, D.C.), September 1980. Millar, G., ‘‘John Huston,’’ in Sight and Sound (London), Summer 1981. ‘‘John Huston,’’ in Film Dope (London), January 1983. Hachem, S., ‘‘Under the Volcano,’’ in American Cinematographer (Los Angeles), October 1984. Combs, Richard, ‘‘The Man Who Would Be Ahab: The Myths and Masks of John Huston,’’ in Monthly Film Bulletin (London), December 1985. ‘‘Huston Issue’’ of Positif (Paris), January 1986. Taylor, John Russell, ‘‘John Huston: The Filmmaker as Dandy,’’ in Films and Filming (London), August 1986. Edgerton, G., ‘‘Revisiting the Recordings of Wars Past: Remembering the Documentary Trilogy of John Huston,’’ in Journal of Popular Film and TV (Washington, D.C.), Spring 1987. McCarthy, T., obituary, in Variety (New York), 2 September 1987. Schulz-Keil, W., and B. Walker, ‘‘Huston,’’ in Film Comment (New York), September/October 1987. Buckley, M., obituary in Films in Review (New York), November 1987. Combs, Richard, ‘‘John Huston: An Account of One Man Dead,’’ in Monthly Film Bulletin (London), December 1987. Literature/Film Quarterly (Salisbury, Maryland), vol. 17, nos. 2 and 4, 1989. American Film (Washington, D.C.), June 1989. Grobel, L., ‘‘Talent to Burn,’’ in Movieline, March 1990. Denby, D., ‘‘A Good Man Is Hard to Find,’’ in Premiere, July 1990. Richards, Peter, ‘‘Huston’s Killer Comedy,’’ in Film Comment (New York), May/June 1991. Hagen, W.M., ‘‘Under Huston’s ‘Volcano,’’’ in Literature/Film Quarterly (Salisbury, Maryland), vol. 19, no. 3, 1991. James, C., ‘‘John Huston: The Director as Monster,’’ in New York Times, 9 August 1992. Edelman, Lee, ‘‘Plasticity, Paternity, Perversity: Freud’s ‘Falcon,’ Huston’s ‘Freud,’’’ in American Imago, Spring 1994. Magny, Joël, ‘‘Huston et les mythes,’’ in Cahiers du Cinéma (Paris), no. 495, October 1995. On HUSTON: films— Kronick, William, On Location: The Night of the Iguana, for TV, U.S., 1964. Graef, Roger, The Life and Times of John Huston, Esquire, Great Britain, 1967. Joyce, Paul, Ride This Way Grey Horse, Great Britain, 1970. Huston, Danny, The Making of The Dead, U.S., 1989. *** Few directors have been as interested in the relationship of film to painting as has John Huston and, perhaps, none has been given as little credit for this interest. This lack of recognition is not completely surprising. Criticism of film, despite the form’s visual nature, has tended to be derived primarily from literature and not from painting or, as might be more reasonable, a combination of the traditions of literature, painting, theater, and the unique forms of film itself. In a 1931 profile in The American Mercury that accompanied a short story by John Huston, the future director said that he wanted to write a book on the lives of French painters. The following year, unable to or dissatisfied with work as a film writer in London, Huston moved to Paris to become a painter. He studied for a year and a half, making money by painting portraits on street corners and singing for pennies. Even after he became an established film director, Huston continued to indulge his interest in painting, ‘‘retiring’’ from filmmaking from time to time to concentrate on his painting. Each of Huston’s films has reflected this prime interest in the image, the moving portrait, and the use of color—as well as the poetic possibilities of natural dialogue. Each film has been a moving canvas on which Huston explores his main subject: the effect of the individual ego on the group and the possibility of the individual’s survival. Huston began exploring his style of framing in his first film, The Maltese Falcon. Following his sketches, he set up shots like the canvases of paintings he had studied. Specifically, Huston showed an interest in characters appearing in the foreground of a shot, with their faces often covering half the screen. Frequently, too, the person whose face half fills the screen is not talking, but listening. The person reacting thus becomes more important than the one speaking or moving
DIRECTORS, 4 EDITION HUSTON Hustons first film as a director presented situations he would As a Huston film, Freud has some particular interests: Huston eturn to again and again. Sam Spade is the obsessed professional, serves as a narrator, displaying an omnipotence and almost Biblical a man who will adhere to pride and dedication, to principle unto death detachment that establishes Freud as a kind of savior and messiah Women are a threat, temptations that can only sway the hero from his The film opens with Hustons description of Freud as a kind of hero or professional commitment. They may be willfully trying to deceive, as God on a quest for mankind. This is the story of Freuds descent into with Brigid and Iva, or they may, as in later Huston films, be the a region as black as hell, mans unconscious, and how he let in the unwitting cause of the protagonists defeat or near-defeat. In The light, ' Huston says in his narration. The bearded, thin look of Freud Asphalt Jungle, for example, the women in the film are not evil; it is who stands alone, denounced before the tribunal of his own people, the mens obsession with them that causes disaster also suggests a parallel with Christ. Freud brings a message of Even with changes and cuts, a film like The Red Badge of Courage salvation which is rejected, and he is reluctantly denounced by his reflects Hustons thematic and visual interests. again, the film chief defender. Breuer. features a group with a quest that may result in death. These soldiers Of all Huston's films, The List of Adrian Messenger is the one ti argue, support each other, pretend they are not frightened, brag, and, deals most literally with people in disguise. George, who describes some cases, die In the course of the action, both the youth and the himself as unexcused evil, hides behind a romantic or heroic mask audience discover that the taking of an isolated field is not as that falls away when he is forced to face the detective, who functions nportant as the ability of the young men to face death without fear. very much like Freud. The detective penetrates the masks, revealing Also, as in other Huston films, the two central figures in The Red the evil, and the evil is destroyed Badge of Courage, the youth and wilson, lie about their attitudes Hustons touch was evident in The Night of the Iguana in a variety Their friendship solidifies only when both confess that they have been of ways. First, he again took a group of losers and put them together i an isolated location. The protagonist, Shannon, once a minister, has Visually, Huston continued to explor been reduced to guiding tourists in Mexico. At the furthest reaches of yle: the placement of characters in a frame so that their size and despair and far from civilization, the quest for meaning ends and the position reflect what they are saying and doing. He developed this protagonist is forced to face himself. Religion is an important theme technique with Bogart, Holt, and Walter Huston in The Treasure of The film opens with Richard Burton preaching a sermon to his the Sierra Madre and Audie Murphy and Bill Mauldin in The Red congregation. It is a startling contrast to Father Mapple's sermon in dge of Courage. Early in The African Queen, for instance, after Moby Dick. Shannon is lost, confused, his speech is gibberish, an Rosies brother dies, there is a scene in which rosie is seated on the almost nonsensical confession about being unable to control his front porch of the mission. Charlie, in the foreground, dominates the appetites and emotions. The congregation turns away from him. reen while rosie, in the background, is small. As Charlie takes This choice between the practical and the fantastic is a constant control of the situation and tells rosie what must be done he raises his theme in Huston's life and films. There is also a choice between hand to the rail and his arm covers our view of her. Charlie is in illusion and reality, a choice Huston finds difficult to make. religion command is seen as part of the fantasy world, a dangerous fantasy that his Thematically, Moulin Rouge was a return to Hustons pessimism characters must overcome if they are not to be destroyed or absorbed and exploration of futility. The director identified with the character by it. This theme is present in The Bible, Wise Blood, and Night of the of Lautrec who, like Huston, was given to late hours, ironic views of Iguana. Huston's negative religious attitude is also strong in A walk himself, performing for others, sardonic wit, and a frequent bitterness with Love and Death, which includes three encounters with the toward women. Lautrec, like Huston, loved horses, and frequently clergy. In the first, Heron is almost killed by a group of ascetic monks painted pictures of them. who demand that he renounce the memory of Claudia and"repent his The narrative as developed by Huston and Ray bradbury in Moby knowledge of women. The young man barely escapes with his life Dick is in keeping with the director's preoccupation with failed These religious zealots counsel a move away from the pleasure of the quests. Only one man, Ishmael, survives. All the other men of the world and human love, a world that Huston believes in Pequod go down in Ahab's futile attempt to destroy the whale. But There are clearly constants in Huston,s works-man's ability to Huston sees Ahab in his actions and his final gesture as a noble find solace in animals and nature, the need to challenge oneself-but creature who has chosen to go down fighting his world is unpredictable, governed by a whimsical God or no God at The Roots of Heaven is yet another example of Hustons explora- all. Each of Huston's tion of an apparently doomed quest by a group of vastly different that unpredictability, establishing rules of behavior by which he people, led by a man obsessed. In spite of the odds, the group persists can live. its mission and some of its members die. As in many Huston films The Huston character. like Cain or Adam. is often weak. and the quest is not a total failure; there is the likelihood of continuation, if frequently his best intentions are not sufficient to carry him through to not success, but the price that must be paid in human lives is high success or even survival. The more a man thinks in a huston film the Hustons The Misfits again featured a group on a sad and fruitless more dangerous it is for his survival. Conversely, however, his films quest. The group, on a search for horses, find far fewer than they had suggest that those who are carried away by emotion, or too much expected. The expedition becomes a bust and the trio of friends are at introspection, are doomed. Since the line between loss of control and odds over a woman, Roslyn(Marilyn Monroe), who opposes the rigidity is difficult to walk, many Huston protagonists do not survive killing and capturing of the horses. It takes a Sam Spade, Sergeant Allison, or Abraham, very rare men With the exception of Guido, the characters represent the least indeed. to remain alive in this directors world. masked or disguised group in Huston's films. Perhaps it is this very Reflections in a Golden Eye raised questions about the element of never-penetrated disguise in Guido that upset Huston and sexuality inherent in many of the themes that most attracted Huston rove him to push for a motivation scene, an emotional unmasking of riding horses, hunting, boxing, and militarism. The honesty with which the director handles homosexuality is characteristic of hi
DIRECTORS, 4 HUSTON th EDITION 453 Huston’s first film as a director presented situations he would return to again and again. Sam Spade is the obsessed professional, a man who will adhere to pride and dedication, to principle unto death. Women are a threat, temptations that can only sway the hero from his professional commitment. They may be willfully trying to deceive, as with Brigid and Iva, or they may, as in later Huston films, be the unwitting cause of the protagonist’s defeat or near-defeat. In The Asphalt Jungle, for example, the women in the film are not evil; it is the men’s obsession with them that causes disaster. Even with changes and cuts, a film like The Red Badge of Courage reflects Huston’s thematic and visual interests. Again, the film features a group with a quest that may result in death. These soldiers argue, support each other, pretend they are not frightened, brag, and, in some cases, die. In the course of the action, both the youth and the audience discover that the taking of an isolated field is not as important as the ability of the young men to face death without fear. Also, as in other Huston films, the two central figures in The Red Badge of Courage, the youth and Wilson, lie about their attitudes. Their friendship solidifies only when both confess that they have been afraid during the battle and have fled. Visually, Huston continued to explore an important aspect of his style: the placement of characters in a frame so that their size and position reflect what they are saying and doing. He developed this technique with Bogart, Holt, and Walter Huston in The Treasure of the Sierra Madre and Audie Murphy and Bill Mauldin in The Red Badge of Courage. Early in The African Queen, for instance, after Rosie’s brother dies, there is a scene in which Rosie is seated on the front porch of the mission. Charlie, in the foreground, dominates the screen while Rosie, in the background, is small. As Charlie takes control of the situation and tells Rosie what must be done, he raises his hand to the rail and his arm covers our view of her. Charlie is in command. Thematically, Moulin Rouge was a return to Huston’s pessimism and exploration of futility. The director identified with the character of Lautrec who, like Huston, was given to late hours, ironic views of himself, performing for others, sardonic wit, and a frequent bitterness toward women. Lautrec, like Huston, loved horses, and frequently painted pictures of them. The narrative as developed by Huston and Ray Bradbury in Moby Dick is in keeping with the director’s preoccupation with failed quests. Only one man, Ishmael, survives. All the other men of the Pequod go down in Ahab’s futile attempt to destroy the whale. But Huston sees Ahab in his actions and his final gesture as a noble creature who has chosen to go down fighting. The Roots of Heaven is yet another example of Huston’s exploration of an apparently doomed quest by a group of vastly different people, led by a man obsessed. In spite of the odds, the group persists in its mission and some of its members die. As in many Huston films, the quest is not a total failure; there is the likelihood of continuation, if not success, but the price that must be paid in human lives is high. Huston’s The Misfits again featured a group on a sad and fruitless quest. The group, on a search for horses, find far fewer than they had expected. The expedition becomes a bust and the trio of friends are at odds over a woman, Roslyn (Marilyn Monroe), who opposes the killing and capturing of the horses. With the exception of Guido, the characters represent the least masked or disguised group in Huston’s films. Perhaps it is this very element of never-penetrated disguise in Guido that upset Huston and drove him to push for a motivation scene, an emotional unmasking of the character. As a Huston film, Freud has some particular interests: Huston serves as a narrator, displaying an omnipotence and almost Biblical detachment that establishes Freud as a kind of savior and messiah. The film opens with Huston’s description of Freud as a kind of hero or God on a quest for mankind. ‘‘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 says in his narration. The bearded, thin look of Freud, who stands alone, denounced before the tribunal of his own people, also suggests a parallel with Christ. Freud brings a message of salvation which is rejected, and he is reluctantly denounced by his chief defender, Breuer. Of all Huston’s films, The List of Adrian Messenger is the one that deals most literally with people in disguise. George, who describes himself as unexcused evil, hides behind a romantic or heroic mask that falls away when he is forced to face the detective, who functions very much like Freud. The detective penetrates the masks, revealing the evil, and the evil is destroyed. Huston’s touch was evident in The Night of the Iguana in a variety of ways. First, he again took a group of losers and put them together in an isolated location. The protagonist, Shannon, once a minister, has been reduced to guiding tourists in Mexico. At the furthest reaches of despair and far from civilization, the quest for meaning ends and the protagonist is forced to face himself. Religion is an important theme. The film opens with Richard Burton preaching a sermon to his congregation. It is a startling contrast to Father Mapple’s sermon in Moby Dick. Shannon is lost, confused, his speech is gibberish, an almost nonsensical confession about being unable to control his appetites and emotions. The congregation turns away from him. This choice between the practical and the fantastic is a constant theme in Huston’s life and films. There is also a choice between illusion and reality, a choice Huston finds difficult to make. Religion is seen as part of the fantasy world, a dangerous fantasy that his characters must overcome if they are not to be destroyed or absorbed by it. This theme is present in The Bible, Wise Blood, and Night of the Iguana. Huston’s negative religious attitude is also strong in A Walk with Love and Death, which includes three encounters with the clergy. In the first, Heron is almost killed by a group of ascetic monks who demand that he renounce the memory of Claudia and ‘‘repent his knowledge of women.’’ The young man barely escapes with his life. These religious zealots counsel a move away from the pleasure of the world and human love, a world that Huston believes in. There are clearly constants in Huston’s works—man’s ability to find solace in animals and nature, the need to challenge oneself—but his world is unpredictable, governed by a whimsical God or no God at all. Each of Huston’s characters seeks a way of coming to terms with that unpredictability, establishing rules of behavior by which he can live. The Huston character, like Cain or Adam, is often weak, and frequently his best intentions are not sufficient to carry him through to success or even survival. The more a man thinks in a Huston film, the more dangerous it is for his survival. Conversely, however, his films suggest that those who are carried away by emotion, or too much introspection, are doomed. Since the line between loss of control and rigidity is difficult to walk, many Huston protagonists do not survive. It takes a Sam Spade, Sergeant Allison, or Abraham, very rare men indeed, to remain alive in this director’s world. Reflections in a Golden Eye raised many questions about the sexuality inherent in many of the themes that most attracted Huston: riding horses, hunting, boxing, and militarism. The honesty with which the director handles homosexuality is characteristic of his
HUSTON DIRECTORS, 4 EDItION willingness to face what he finds antithetical to his own nature. In the Moby Dick). Between these extremes is the cool, intelligent protago- film, the equation of Leonora and her horse is presented as definitely nist who will sacrifice everything for self-understanding and indepen xual, and at one point Penderton actually beats the horse in a fury dence( Sam Spade in The Maltese Falcon, and Freud ) Huston always because he himself is impotent. Huston also includes a boxing match finds the first group pathetic, the second tragic, and the third heroic in the film which is not in the novel. The immorally provocative He reserves his greatest respect for the man who retains his dignity Leonora watches the match, but Penderton watches another spectator, spite of pain and disaster williams. Reflections becomes an almost comic labyrinth of voyeurism, Many of Hustons films can de divided between those involving with characters spying on other characters. roup quests that fail and those involving a pair of potential lovers Huston's protagonists often represent extremes. They are either lovers end in the union of the couple or, at least, their survival. In that ignorant, pathetic, and doomed by their lack of self-understanding sense, a Walk with Love and Death, starring his own daughter, proved (Tully and Ernie in Fat City, Dobbs in The Treasure of the Sierra be the most pessimistic of his love stories, and Annie, his most Madre, Peachy and Danny in The Man Who Would Be King) or commercial venture, proved to be his most optimistic intelligent, arrogant, but equally doomed by their lack of self understanding( Penderton in Reflections in a Golden Eye and Ahab -Stuart M. Kaminsky 454
HUSTON DIRECTORS, 4th EDITION 454 willingness to face what he finds antithetical to his own nature. In the film, the equation of Leonora and her horse is presented as definitely sexual, and at one point Penderton actually beats the horse in a fury because he himself is impotent. Huston also includes a boxing match in the film which is not in the novel. The immorally provocative Leonora watches the match, but Penderton watches another spectator, Williams. Reflections becomes an almost comic labyrinth of voyeurism, with characters spying on other characters. Huston’s protagonists often represent extremes. They are either ignorant, pathetic, and doomed by their lack of self-understanding (Tully and Ernie in Fat City, Dobbs in The Treasure of the Sierra Madre, Peachy and Danny in The Man Who Would Be King) or intelligent, arrogant, but equally doomed by their lack of selfunderstanding (Penderton in Reflections in a Golden Eye and Ahab in Moby Dick). Between these extremes is the cool, intelligent protagonist who will sacrifice everything for self-understanding and independence (Sam Spade in The Maltese Falcon, and Freud). Huston always finds the first group pathetic, the second tragic, and the third heroic. He reserves his greatest respect for the man who retains his dignity in spite of pain and disaster. Many of Huston’s films can de divided between those involving group quests that fail and those involving a pair of potential lovers who must face a hostile world. Generally, Huston’s films about such lovers end in the union of the couple or, at least, their survival. In that sense, A Walk with Love and Death, starring his own daughter, proved to be the most pessimistic of his love stories, and Annie, his most commercial venture, proved to be his most optimistic. —Stuart M. Kaminsky