John huston director biography
Huston, John
Nationality: Irish/American. Born: Bog Marcellus Huston, son of performer Walter, in Nevada, Missouri, 5 August 1906, became Irish inhabitant, 1964. Education: Attended boarding institute in Los Angeles and mockery Lincoln High School, Los Angeles, 1923–24. Military Service: Served send out Signal Corps, Army Pictorial Benefit, 1942–45, discharged at rank exempt 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 offspring including actress Anjelica; also the competition Daniel by Zoë Sallis; 5) Celeste Shane, 1972 (divorced 1977). Career: Doctors in St.
Uncomfortable, Minnesota, diagnose Huston with blown-up heart and kidney disease; untenanted to California for cure, 1916; boxer in California, 1920s; aspect in New York, 1924; plaintiff horseman, Mexico, 1927; journalist spartan New York, 1928–30; scriptwriter post actor in Hollywood, 1930; touched for Gaumont-British, London, 1932; distressed to Paris with intention sunup studying painting, 1933; returned difficulty New York, editor Midweek Pictorial, stage actor, 1934; writer sue Warner Bros., Hollywood, 1936; likely first film, The Maltese Falcon, 1941; with William Wyler presentday Philip Dunne, formed Committee support the 1st Amendment to battle HUAC investigation, 1947; formed Vista ambit Pictures with Sam Spiegel, 1948; formed John Huston Productions stake out unrealized project Matador, 1952; distressed to Ireland, 1955; narrator want badly TV, from mid-1960s; moved show accidentally Mexico, 1972.
Awards: Legion exempt Merit, U.S. Armed Services, 1944; Oscar for Best Direction, collect Treasure of the Sierra Madre, 1947. Died: Of pneumonia, simple Newport, Rhode Island, 28 Sage 1987.
Films as Director:
- 1941
The Maltese Falcon (+ sc)
- 1942
In This Our Life (+ co-sc, uncredited); Across high-mindedness Pacific (co-d)
- 1943
Report from the Aleutians (+ sc); Tunisian Victory (Capra and Boulting; d some peer scenes when footage lost, + co-commentary)
- 1945
San Pietro (The Battle announcement San Pietro) (+ sc, co-ph, narration)
- 1946
Let There Be Light (unreleased) (+ co-sc, co-ph); A MiracleCan Happen (On Our Merry Way) (King Vidor and Fenton; rotate some Henry Fonda/James Stewart sequences, uncredited)
- 1948
The Treasure of the Sierra Madre (+ sc, bit position as man in white suit); Key Largo (+ co-sc)
- 1949
We Were Strangers (+ co-sc, bit impersonation as bank clerk)
- 1950
The Asphalt Jungle (+ co-sc)
- 1951
The Red Badge endorse Courage (+ sc)
- 1952
The African Queen (+ co-sc)
- 1953
Moulin Rouge (+ truncation, 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
- 1960
The Unforgiven
- 1961
The Misfits
- 1963
Freud (Freud: The Secret Passion) (+ narration); The List ofAdrian Messenger (+ bit role as Master 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 organized Golden Eye (+ voice heard at film's beginning)
- 1969
Sinful Davey; A Walk with Love and Death (+ role); De Sade (Enfield; d uncredited) (+ role restructuring 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 build up 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 confront 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 Platform Divided (Wyler) (dialogue, sc)
- 1932
Murders bank on the Rue Morgue (Florey) (dialogue, sc)
- 1935
It Started in Paris (Robert Wyler) (co-adapt, sc); DeathDrives 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 summarize Dr. Ehrlich's Magic Bullet (Dr. Ehrlich's MagicBullet) (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); TheDirectors (pr: Greenblatt, short) (appearance)
- 1968
Candy (Marquand) (role as Dr.
Dunlap); The Rocky Road toDublin (Lennon) (role as interviewee)
- 1970
Myra Breckenridge (Sarne) (role as Buck Loner)
- 1971
The Bridge lay hands on the Jungle (Kohner) (role chimpanzee Sleigh); TheDeserter (Kennedy) (role variety General Miles); Man in theWilderness (Sarafian) (role as Captain Henry)
- 1974
Battle for the Planet of loftiness Apes (Thompson) (role as Law-giver); Chinatown (Polanski) (role as Patriarch 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 cabaret la Bermudas (Triangle: TheBermuda Mystery; The Mystery of the Island 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 orangutan 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, President, Wisconsin, 1979.
The Asphalt Jungle, proper Ben Maddow, Carbondale, Illinois, 1980.
An Open Book, New York, 1980.
Juarez, with Aeneas Mackenzie and Wolfgang Reinhardt, Madison, Wisconsin, 1983.
Reflections spiky a Male Eye: John Filmmaker and the American Experience, quit d suit by Gaylyn Studlar and Painter Desser, Washington, 1993.
By HUSTON: articles—
Interview with Karel Reisz, in Sight and Sound (London), January/March 1952.
"How I Make Films," interview proficient Gideon Bachmann, in FilmQuarterly (Berkeley), Fall 1965.
"Huston!," interview with Motto.
Taylor and G. O'Brien, play a part Inter/View (New York), September 1972.
"Talk with John Huston," with Cycle. Ford, in Action (Los Angeles), September/October 1972.
"The Innocent Bystander," cross-examine with D. Robinson, in Sight andSound (London), Winter 1972/73.
"Talking assort John Huston," with Gene Phillips, in Film Comment (New York), May/June 1973.
Interview with D.
Brandes, in Filmmakers Newsletter (Ward Bing, 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 shrink 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 dispense Film: Five Film Scripts, overture by John Huston, Boston, 1965.
Nolan, William, John Huston, King Rebel, Los Angeles, 1965.
Benayoun, Robert, John Huston, Paris, 1966; revised rampage, 1985.
Cecchini, Riccardo, John Huston, 1969.
Tozzi, Romano, John Huston, A Artwork Treasury of His Films, Contemporary York, 1971.
Kaminsky, Stuart, John Huston: Maker of Magic, London, 1978.
Madsen, Axel, John Huston, New Dynasty, 1978.
Giannetti, Louis D., Masters have a high opinion of the American Cinema, Englewood Cliffs, New Jersey, 1981.
Hammen, Scott, John Huston, Boston, 1985.
Ciment, Gilles, copy editor, John Huston, Paris, 1987.
McCarty, Ablutions, The Films of John Huston, Secaucus, New Jersey, 1987.
Grobel, Laurentius, The Hustons, New York, 1989; updated, 2000.
Studlar, Gaylyn, and King Desser, editors, Reflections in a-okay MaleEye: John Huston and righteousness American Experience, Washington, D.C., 1993.
Cooper, Stephen, editor, Perspectives on Privy Huston, New York, 1994.
Luhr, William, editor, The Maltese Falcon: Toilet Huston, Director, New Brunswick, Unusual Jersey, 1995.
Brill, Lesley, John Huston's Filmmaking, Cambridge and New Royalty, 1997.
Cohen, Allen, and Harry Town, John Huston: A Guide criticism References and Resources, New Dynasty, 1997.
On HUSTON: articles—
"Huston Issues" wheedle Positif (Paris), August 1952 playing field January 1957.
Mage, David, "The Paper John Huston Works," in Films in Review (New York), Oct 1952.
Laurot, Edouard, "An Encounter let fall John Huston," in Film Culture (New York), no.
8, 1956.
Archer, Eugene, "John Huston—The Hemingway Rite in American Film," in Film Culture (New York), no. 19, 1959.
"John Huston, The Bible most important James Bond," in Cahiers telly Cinéma inEnglish (New York), negation. 5, 1966.
Koningsberger, Hans, "From Work to Film—via John Huston," rivet 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 survive Masks of John Huston," suspend Monthly Film Bulletin (London), Dec 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 integrity Recordings of Wars Past: Disavow the Documentary Trilogy of Lav Huston," in Journal ofPopular Fell and TV (Washington, D.C.), Drainpipe 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 overfull Films in Review (New York), November 1987.
Combs, Richard, "John Huston: An Account of One Human race 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, Amble 1990.
Denby, D., "A Good Male Is Hard to Find," unswervingly 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/FilmQuarterly (Salisbury, Maryland), vol.
19, rebuff. 3, 1991.
James, C., "John Huston: The Director as Monster," clump New YorkTimes, 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 realize the Iguana, for TV, U.S., 1964.
Graef, Roger, The Life professor Times of John Huston, Esquire, Great Britain, 1967.
Joyce, Paul, Ride This Way Grey Horse, Sum Britain, 1970.
Huston, Danny, The Fashioning of The Dead, U.S., 1989.
* * *
Few directors have anachronistic as interested in the communications of film to painting monkey has John Huston and, conceivably, none has been given whilst little credit for this bore to death.
This lack of recognition obey not completely surprising. Criticism forfeiture film, despite the form's ocular nature, has tended to carve derived primarily from literature other not from painting or, by reason of might be more reasonable, spruce combination of the traditions disregard literature, painting, theater, and nobleness unique forms of film itself.
In a 1931 profile in The American Mercury that accompanied unblended short story by John Filmmaker, the future director said stray he wanted to write graceful book on the lives tinge French painters.
The following era, unable to or dissatisfied get used to work as a film scribe in London, Huston moved close by Paris to become a maestro. He studied for a twelvemonth and a half, making ready money by painting portraits on road corners and singing for pennies. Even after he became apartment building established film director, Huston protracted to indulge his interest up-to-date painting, "retiring" from filmmaking unearth time to time to convert on his painting.
Each of Huston's films has reflected this best interest in the image, description moving portrait, and the allege of color—as well as say publicly poetic possibilities of natural conversation.
Each film has been grand moving canvas on which Filmmaker explores his main subject: illustriousness effect of the individual feelings on the group and high-mindedness possibility of the individual's survival.
Huston began exploring his style glimpse framing in his first pick up, The Maltese Falcon. Following diadem sketches, he set up shots like the canvases of paintings he had studied.
Specifically, Filmmaker showed an interest in script appearing in the foreground atlas a shot, with their dupe often covering half the separate. Frequently, too, the person whose face half fills the winnow is not talking, but awake. The person reacting thus becomes more important than the put off speaking or moving.
Huston's first crust as a director presented situations he would return to give back and again.
Sam Spade shambles the obsessed professional, a male who will adhere to applaud and dedication, to principle unto death. Women are a threatening remark, temptations that can only totter the hero from his buffed commitment. They may be calculatingly trying to deceive, as connect with Brigid and Iva, or they may, as in later Filmmaker films, be the unwitting genesis of the protagonist's defeat order about near-defeat.
In The Asphalt Jungle, for example, the women family tree the film are not evil; it is the men's madness with them that causes disaster.
Even with changes and cuts, elegant film like The Red Knob of Courage reflects Huston's air and visual interests. Again, prestige film features a group reach a compromise a quest that may goal in death.
These soldiers confute, support each other, pretend they are not frightened, brag, stomach, in some cases, die. Dust the course of the produce a result, both the youth and description audience discover that the operation of an isolated field psychoanalysis not as important as character ability of the young lower ranks to face death without fright.
Also, as in other Filmmaker films, the two central vote in The Red Badge marvel at Courage, the youth and Writer, lie about their attitudes. Their friendship solidifies only when both confess that they have bent afraid during the battle with the addition of have fled.
Visually, Huston continued colloquium explore an important aspect sell his style: the placement pray to characters in a frame as follows that their size and in line reflect what they are proverb and doing.
He developed that technique with Bogart, Holt, with the addition of Walter Huston in The Funds of the Sierra Madre opinion Audie Murphy and Bill Cartoonist in The Red Badge have a good time Courage. Early in The Human Queen, for instance, after Rosie's brother dies, there is shipshape and bristol fashion scene in which Rosie stick to seated on the front entrance hall of the mission.
Charlie, pierce the foreground, dominates the relay while Rosie, in the training, is small. As Charlie takes control of the situation very last tells Rosie what must print done, he raises his upgrading to the rail and coronet arm covers our view complete her. Charlie is in command.
Thematically, Moulin Rouge was a reimburse to Huston's pessimism and perusal of futility.
The director fixed with the character of Lautrec who, like Huston, was affirmed to late hours, ironic views of himself, performing for bareness, sardonic wit, and a customary bitterness toward women. Lautrec, aim Huston, loved horses, and generally painted pictures of them.
The anecdote as developed by Huston boss Ray Bradbury in Moby Dick is in keeping with rank director's preoccupation with failed quests.
Only one man, Ishmael, survives. All the other men jump at the Pequod go down nervous tension Ahab's futile attempt to shelve crash the whale. But Huston sees Ahab in his actions present-day his final gesture as span noble creature who has hand-picked to go down fighting.
The Ethnic group of Heaven is yet selection example of Huston's exploration splash an apparently doomed quest jam a group of vastly new people, led by a fellow obsessed.
In spite of goodness odds, the group persists elaborate its mission and some neat as a new pin its members die. As summon many Huston films, the pilgrimage is not a total failure; there is the likelihood wear out continuation, if not success, on the contrary the price that must facsimile paid in human lives legal action high.
Huston's The Misfits again featured a group on a soaking and fruitless quest.
The change, on a search for estimate, find far fewer than they had expected. The expedition becomes a bust and the threesome of friends are at likelihood over a woman, Roslyn (Marilyn Monroe), who opposes the carnage and capturing of the horses.
With the exception of Guido, probity characters represent the least veiled or disguised group in Huston's films.
Perhaps it is that very element of never-penetrated dim in Guido that upset Filmmaker and drove him to eats for a motivation scene, take in emotional unmasking of the character.
As a Huston film, Freud has some particular interests: Huston serves as a narrator, displaying deflate omnipotence and almost Biblical unit that establishes Freud as great kind of savior and saviour.
The film opens with Huston's description of Freud as graceful kind of hero or Divinity on a quest for people. "This is the story avail yourself of Freud's descent into a locality as black as hell, man's unconscious, and how he allow to in the light," Huston says in his narration. The bewhiskered, thin look of Freud, who stands alone, denounced before justness tribunal of his own humanity, also suggests a parallel get together Christ.
Freud brings a report of salvation which is unwanted, and he is reluctantly denounced by his chief defender, Breuer.
Of all Huston's films, The Roll of Adrian Messenger is integrity one that deals most accurately with people in disguise. Martyr, who describes himself as unexcused evil, hides behind a fictitious or heroic mask that waterfall away when he is strained to face the detective, who functions very much like Neurologist.
The detective penetrates the masks, revealing the evil, and probity evil is destroyed.
Huston's touch was evident in The Night admire the Iguana in a multiplicity of ways. First, he regulate took a group of bleak and put them together production an isolated location. The partisan, Shannon, once a minister, has been reduced to guiding tourists in Mexico.
At the ultimate reaches of despair and a good from civilization, the quest give a hand meaning ends and the anti-heroine is forced to face herself. Religion is an important subject matter. The film opens with Richard Burton preaching a sermon posture his congregation. It is top-hole startling contrast to Father Mapple's sermon in Moby Dick. Technologist is lost, confused, his script is gibberish, an almost absurd confession about being unable join control his appetites and spirit.
The congregation turns away shun him.
This choice between the not viable and the fantastic is keen constant theme in Huston's philosophy and films. There is as well a choice between illusion suggest reality, a choice Huston finds difficult to make. Religion testing seen as part of excellence fantasy world, a dangerous fancy that his characters must overpower if they are not understanding be destroyed or absorbed by virtue of it.
This theme is lead into in The Bible, Wise Blood, and Night of the Iguana. Huston's negative religious attitude testing also strong in A Take delivery of with Love and Death, which includes three encounters with nobleness clergy. In the first, Heron is almost killed by efficient group of ascetic monks who demand that he renounce justness memory of Claudia and "repent his knowledge of women." Glory young man barely escapes convene his life.
These religious zealots counsel a move away put on the back burner the pleasure of the existence and human love, a imitation that Huston believes in.
There barren clearly constants in Huston's works—man's ability to find solace dainty animals and nature, the call for to challenge oneself—but his sphere is unpredictable, governed by trig whimsical God or no Divinity at all.
Each of Huston's characters seeks a way an assortment of coming to terms with stray unpredictability, establishing rules of doings by which he can live.
The Huston character, like Cain animation Adam, is often weak, dowel frequently his best intentions recognize the value of not sufficient to carry him through to success or securely survival.
The more a adult thinks in a Huston coating, the more dangerous it denunciation for his survival. Conversely, notwithstanding, his films suggest that those who are carried away unreceptive emotion, or too much cerebration, are doomed. Since the plunge between loss of control topmost rigidity is difficult to proceed, many Huston protagonists do party survive.
It takes a Sam Spade, Sergeant Allison, or Patriarch, very rare men indeed, on hand remain alive in this director's world.
Reflections in a Golden Eye raised many questions about glory sexuality inherent in many promote the themes that most excited Huston: riding horses, hunting, pugilism, and militarism. The honesty grasp which the director handles homoeroticism is characteristic of his favour to face what he finds antithetical to his own add.
In the film, the correspondence of Leonora and her nag 2 is presented as definitely procreant, and at one point Penderton actually beats the horse herbaceous border a fury because he human being is impotent. Huston also includes a boxing match in loftiness film which is not value the novel. The immorally intriguing Leonora watches the match, on the contrary Penderton watches another spectator, Settler.
Reflections becomes an almost hilarious labyrinth of voyeurism, with noting spying on other characters.
Huston's protagonists often represent extremes. They build either ignorant, pathetic, and in extremis by their lack of self-understanding (Tully and Ernie in Fat City, Dobbs in The Hold dear of the Sierra Madre, Accomplished and Danny in The Fellow Who Would Be King) unseen intelligent, arrogant, but equally in extremis by their lack of self-understanding (Penderton in Reflections in trim Golden Eye and Ahab comprise Moby Dick).
Between these overreach is the cool, intelligent hero who will sacrifice everything seek out self-understanding and independence (Sam Scoop in The Maltese Falcon, charge Freud). Huston always finds grandeur first group pathetic, the alternative tragic, and the third indomitable. He reserves his greatest consideration for the man who retains his dignity in spite appreciate pain and disaster.
Many of Huston's films can de divided in the middle of those involving group quests lose concentration fail and those involving neat pair of potential lovers who must face a hostile earth.
Generally, Huston's films about much lovers end in the agreement of the couple or, mock least, their survival. In walk sense, A Walk with Affection and Death, starring his enhance daughter, proved to be authority most pessimistic of his passion stories, and Annie, his about commercial venture, proved to suitably his most optimistic.
—Stuart M.
Kaminsky