The Treasure of the Sierra Madre - 必应 Sign in The Treasure of the Sierra Madre The Treasure of the Sierra Madre is a 1948 American dramatic adventurous neo-western with elements of Film Noir, written and directed by John Huston. It is a feature film adaptation of B. Traven's 1927 novel of the same name, about two financially desperate Americans, Fred C. Dobbs (Humphrey Bogart) and Bob Curtin (Tim Holt), who in the 1920s join initially reluctant 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 films to be filmed on location outside the United States (in the state of Durango and street scenes in Tampico, Mexico), although many scenes were fil ... (展开) med back in the studio and elsewhere in the US. The film 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".

关于The Treasure of the Sierra Madre，网友们最关心的问题 1 The Treasure of the Sierra Madre Background By the 1920s in Mexico the violence of the Mexican Revolution had largely subsided, although scattered gangs of bandits continued to terrorize the countryside. The newly established post-revolution government relied on the effective, but ruthless, Federal Police, commonly known as the Federales, to patrol remote areas and dispose of the bandits. Foreigners, like three gold prospectors from the U.S. (Fred, Bob, and Howard) were at very real risk of being murdered by the bandits if their paths crossed. The bandits suffered a similar fate if captured by the Mexican Federales or army units. On-the-spot, bandidos were forced to dig their own graves and given a "last cigarette" before the death sentence was carried out. The Treasure of the Sierra Madre Plot In 1925 in the Mexican oil-town of Tampico, Dobbs (Humphrey Bogart) and Curtin (Tim Holt), two Americans cheated out of promised wages and down on their luck, meet old prospector Howard (Walter Huston).

When one of them wins a small jackpot in the lottery, they have the bankroll to finance a gold prospecting journey to the remote Sierra Madre mountains. They ride a train into the hinterlands, surviving a bandit attack en route. In the desert, Howard proves to be the toughest and most knowledgeable; he is the one to discover the gold they seek. A mine is dug, and much gold is extracted. Greed soon sets in, and Dobbs begins to lose both his trust and his sanity, lusting to possess the entire treasure. Dobbs is also unreasonably afraid that he will be killed by his partners. A fourth American named James Cody (Bruce Bennett) appears, which sets up a debate about what to do with the new stranger. Rather than give him a share of the future production of the mine, the men decide to kill Cody. Just as the three confront him with pistols and prepare to kill him, the bandits reappear, crudely pretending to be Federales. After a tense vocal exchange regarding proof, a gunfight with the bandits ensues, in which Cody is killed, a real troop of Federales appears and chases the bandits away.

Howard is called away to assist local villagers to save the life of a seriously ill little boy. When the boy recovers, the next day, the villagers insist that Howard return to the village to be honored. However, he leaves his goods with Dobbs and Curtin. Dobbs, whose paranoia continues, and Curtin constantly argue, until one night when Curtin falls asleep, Dobbs holds him at gunpoint, takes him behind the camp, shoots him, grabs all three shares of the gold, and leaves him for dead. However, the wounded Curtin survives and manages to crawl away during the night. Nearly dying of thirst, Dobbs is ambushed and killed at a waterhole by the same bandits they encountered earlier at the mine. In their ignorance, the bandits believe Dobbs' bags of unrefined gold are merely filled with sand, and they scatter the gold to the winds. Curtin is discovered by indios and taken to Howard's village, where he recovers. The bandits try to sell the packing donkeys but a child recognizes the donkeys and Dobbs' clothes and reports them to the police. The bandits are captured, sentenced to death and forced to dig their own graves before being executed.

Curtin and Howard miss witnessing the bandits' execution by Federales by only a few minutes as they arrive back in town, and learn that the gold is gone. While checking the area where the bandits dropped the gold, Howard and Curtin notice some empty sacks and surmise that the winds must have carried the gold away, back to the mountain from which it came. They accept the loss with equanimity, Howard proclaiming it a good joke and laughing while doing a little jig. They part ways, Howard returning to the indio village, where the natives have offered him a permanent home and position of honour, and Curtin returning home to the United States, where he will seek out the widow of Cody in the peach orchards of Texas. Pre-production Director John Huston first read the novel by B. Traven in 1935 and had always thought the material would make a great movie with his father in the main role. Based on a 19th-century ballad by a German poet, Traven's book reminded Huston of his own adventures in the Mexican cavalry. After a smashing success with his directorial debut, The Maltese Falcon, Huston started to work on the project.

The studio had George Raft, Edward G. Robinson and John Garfield in mind for the three main roles, but then World War II intervened. While Huston was in the war filming documentaries, Robert Rossen submitted at least nine drafts of rewrites on the screenplay. Vincent Sherman was all set to direct a version of the story during the WWII years until his script fell foul of the Breen office for being derogatory towards Mexicans. Casting By the time Huston came back from making several documentaries for the war effort, Humphrey Bogart had become Warner Brothers' biggest star. This was entirely appropriate, for when Bogart first got wind of the fact that Huston might be making a film of the B. Traven novel, he immediately started badgering Huston for a part. Bogart was given the main role of Fred C. Dobbs. Prior to filming, Humphrey Bogart encountered a critic while leaving a New York nightclub. "Wait till you see me in my next picture," he said, "I play the worst shit you ever saw". Traven initially disagreed with Huston's decision to cast his father, Walter Huston, as Howard.

He had preferred Lewis Stone, but eventually came to agree with Huston's choice. Walter Huston himself also questioned his son's choice. He still saw himself as a leading man and was not keen on being cast in a supporting role. However, his son was able to convince him to accept, and also persuaded him to play the part without his dentures for the sake of reality. John Huston rated his father's performance as the finest piece of acting in any of his films. On seeing the depth of Walter Huston's performance, Humphrey Bogart famously said. "One Huston is bad enough, but two are murder.\ Huston originally wanted to cast Ronald Reagan as James Cody. Jack L. Warner instead insisted on casting Reagan for another film. Bruce Bennett was eventually cast in the role. A few notable uncredited actors appear in the film. In an opening cameo, director John Huston is pestered for money by Bogart's character. The scene was directed by Bogart himself. Actor Robert Blake also appears as a young boy selling lottery tickets. The most controversial cameo is the rumored one by Ann Sheridan. Sheridan allegedly did a cameo as a streetwalker.

After Dobbs leaves the barbershop in Tampico (actually a set on a studio soundstage), he spies a passing prostitute who returns his look. Seconds later, the woman is picked up again by the camera, but this time in the distance. Some filmgoers and critics feel the woman looks nothing like Sheridan, but the DVD commentary for the film contains a statement that it is her. A photograph included in the documentary accompanying the DVD release shows Sheridan in streetwalker costume, with Bogart and Huston on the set. However, single frames of the film show a different woman in a different dress and different hairstyle, raising the possibility that Sheridan filmed the sequence but that it was reshot with another woman for undetermined reasons. Many film-history sources credit Sheridan for the part. Co-star Tim Holt's father, Jack Holt, a star of silent and early sound Westerns and action films, makes a one-line appearance at the beginning of the film as one of the men down on their luck.

Filming The Treasure of the Sierra Madre was one of the first Hollywood films to be filmed on location outside the United States (in the state of Durango and street scenes in Tampico, Mexico), although many scenes were filmed back in the studio and elsewhere in the US. Filming took five and a half months to shoot. The first scene in the film with Bogart and Holt was the first to be shot. The opening scenes, filmed in longshot on the Plaza de la Libertad in Tampico, show modern (i.e. of the 1940s) cars and buses, even though the story opens in 1925, as evidenced by the lottery number's poster. Just as Huston was starting to shoot scenes in Tampico, Mexico, the production was shut down inexplicably by the local government. The cast and crew were at a complete loss to understand why, since the residents and government of Tampico had been so generous in days past. It turns out that a local newspaper printed a false story that accused the filmmakers of making a production that was unflattering to Mexico. Huston soon found out why the newspaper skewered him and his production.

When you wanted to do anything in Tampico, it was customary to slide a little money toward the editor of the newspaper, something the crew failed to do. Fortunately, two of Huston's associates, Diego Rivera and Miguel Covarrubias, went to bat for the director with the President of Mexico. The libellous accusations were dropped, and a few weeks later, the editor of the newspaper was caught in the wrong bed and shot dead by a jealous husband. Most of the Mexican extras were paid 10 pesos a day which was the equivalent of $2.00, a considerable amount for an impoverished region at the time. There were scenes in which Walter Huston had to speak fluent Spanish, a language he did not know off camera. To fill this need, John Huston hired a Mexican to record the lines, and then the elder Huston memorized them so well that many assumed he knew the language like a native. As with most of the Mexican actors selected from the local population, Alfonso Bedoya's heavily accented pronunciation of English proved to be a bit of a problem.

Example: "horseback" came out as "whore's back." Bogart only knew two Spanish words, "Dos Equis," a Mexican beer. The fight scene in the cantina took five days to shoot. During the shooting of the entire film, John Huston pulled pranks on Bennett, Bedoya (along with Bogart) and Bogart himself. While most of the film was shot in Mexico, Jack L. Warner had the unit return to Hollywood when the budget started to exceed three million dollars. Though the daily rushes impressed Warner Bros., Jack L. Warner, he nearly went berserk with the weekly expenditures. After viewing one scene, Warner threw up his hands and shouted to Blanke, "Yeah, they're looking for gold all right - mine!" During another screening of rushes, Warner watched Dobbs stumble along in the desert for water. Warner jumped up in the middle of the scene and shouted to a gaggle of executives, "If that s.o.b. doesn't find water soon I'll go broke!\ Warner had reason to be upset. John Huston and Blanke led him to believe that the film would be an easy picture to make and that they would be in and out of Mexico in a matter of weeks.

Because Warner was notorious for not actually reading scripts, he assumed the film was a B-movie Western. As the full extent of Huston's plans became apparent, Warner nearly blew a gasket. He was especially unhappy with the way the film ended, arguing that audiences wouldn't accept it. Ironically, Warner was correct, since the initial box office take was as impressive as fool's gold. But the film was a huge critical success and, in its many re-releases, it more than earned its original investment of $3 million. As production dragged on, Bogart, who was an avid yachtsman, was starting to get increasingly anxious about missing the Honolulu Classic, the Catalina-to-Hawaii race in which he usually took part. Despite assurances from the studio that he would be wrapped on the picture by then, he started to constantly annoy Huston about whether he would be done in time. Eventually Huston had enough and grabbed Bogart by the nose and twisted hard. Bogart never asked him how long before the shooting was over again. The wind storm in the final scene was created by borrowing some jet engines from the Mexican Air Force. Traven was asked if he would like to visit the set during location shooting.

He demurred, but said he would be sending an associate instead. The associate was actually Traven himself, using a pseudonym. It is debated if this is speculation or not. The Treasure of the Sierra Madre Themes The film is often described as a story about the corrupting influence of greed. Film critic Roger Ebert enlarged upon this idea, saying that "The movie has never really been about gold but about character." In addition, reviewers have noted the importance not just of greed and gold, but also of nature and its desolateness as an influence on the actions of the men. However, the ability of the film to comment on human nature generally has been questioned, in view of the fact that Dobbs' character is so evidently flawed from the beginning. The Treasure of the Sierra Madre Awards and honors John Huston won the Academy Award for Directing and Academy Award for Writing Adapted Screenplay in 1948 for his work on The Treasure of the Sierra Madre. Walter Huston, John Huston's father, also won the Academy Award for Best Supporting Actor for his role in this film, the first father-son win.

The film was nominated for the Best Picture award, but lost to Laurence Olivier's film adaptation of Hamlet. In 1990, this film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". The film was among the first 100 films to be selected. Director Stanley Kubrick listed The Treasure of the Sierra Madre as his 4th favorite film of all time in his list of his top ten favorite films in a 1963 edition of Cinema magazine. Director Sam Raimi ranked it as his favorite film of all time in an interview with Rotten Tomatoes and director Paul Thomas Anderson watched it at night before bed while writing his film There Will Be Blood. American Film Institute recognition AFI's 100 Years... 100 Movies – No. 30 AFI's 100 Years... 100 Thrills – No. 67 AFI's 100 Years... 100 Heroes and Villains: Fred C. Dobbs – Nominated Villain AFI's 100 Years... 100 Movie Quotes: "Badges?

We ain't got no badges! We don't need no badges! I don't have to show you any stinking badges!" – No. 36 AFI's 100 Years of Film Scores – Nominated AFI's 100 Years... 100 Movies (10th Anniversary Edition) – No. 38 Breaking Bad creator Vince Gilligan has also cited the film as one of his personal favorites. A key scene from the film was emulated in "Buyout", the sixth episode of the fifth season of Breaking Bad. The Treasure of the Sierra Madre References ^ The Treasure of the Sierra Madre, Filmsite Movie Review. AMC's FilmSite. Retrieved April 15, 2013. ^ a b Gamarekian, Barbara (October 19, 1990). "Library of Congress Adds 25 Titles to National Film Registry". The New York Times. Retrieved July 22, 2009. ^ Discovering Treasure: The Story of The Treasure of the Sierra Madre, Turner Classic Movies, 2003 ^ "Treasure of the Sierra Madre, The (1948)". classicfilmguide.com.

2010. Retrieved 2010-04-21. ^ "The Treasure of the Sierra Madre (1948)". The New York Times. 1948. ^ "Treasure of the Sierra Madre". rogerebert.com. 2003. ^ "The Treasure of the Sierra Madre". The Nation. 1948. ^ "The Treasure of the Sierra Madre". The Nation. 1948. ^ "Top Grossers of 1948", Variety 5 January 1949 p 46 ^ Baxter 1997, p.12. ^ Lynn Hirschberg (November 11, 2007). "The New Frontier's Man". The New York Times. Retrieved November 10, 2007. ^ AFI's 100 Years...100 Heroes and Villains Nominees ^ AFI's 100 Years of Film Scores Nominees Bibliography The Treasure of the Sierra Madre (film) The Treasure of the Sierra Madre (film) Directed by The Treasure of the Sierra Madre byB.

Traven Starring Humphrey BogartWalter HustonTim HoltBruce Bennett Music by Edit Block Theatrical poster The Treasure of the Sierra Madre is a 1948 American film written and directed by John Huston, a feature film adaptation of B. Traven's 1927 novel of the same name, in which two impecunious Americans Fred C. Dobbs (Humphrey Bogart) and Bob Curtin (Tim Holt) during the 1920s in Mexico join with an old-timer, Howard (Walter Huston, the director's father), to prospect for gold. The old-timer accurately predicts trouble, but is willing to go anyway.The Treasure of the Sierra Madre was one of the first Hollywood films to be filmed almost entirely on location outside the United States (in the state of Durango and street scenes in Tampico, Mexico), although the night scenes were filmed back in the studio. The film is quite faithful to the novel. In 1990, this film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

Background Edit Block By the 1920s the violence of the Mexican Revolution had largely subsided, although scattered gangs of bandits continued to terrorize the countryside. The newly established post-revolution government relied on the effective, but ruthless, Federal Police, commonly known as the Federales, to patrol remote areas and dispose of the bandits. Foreigners, like the three American prospectors who are the protagonists in the story, were at very real risk of being killed by the bandits if their paths crossed. The bandits, likewise, were given little more than a "last cigarette" by the army units after capture, even having to dig their own graves first. Plot Edit Block Dobbs (Humphrey Bogart) and Curtin (Tim Holt), cheated out of promised wages and down on their luck, meet old prospector Howard (Walter Huston) in a small Mexican town. They set out to strike it rich in the remote Sierra Madre mountains, searching for gold. They ride a train into the hinterlands, surviving a bandit attack en route. In the desert, Howard proves to be the toughest and most knowledgeable; he is the one to discover the gold they seek.

A mine is dug, and much gold is extracted. Greed soon sets in, and Dobbs begins to lose both his trust and his sanity, lusting to possess the entire treasure. Dobbs is also unreasonably afraid that he will be killed by his partners. A fourth American named James Cody (Bruce Bennett) appears, which sets up a moral debate about what to do with the new stranger. The men decide to kill Cody, but just as the three confront him with pistols and prepare to kill him, the bandits reappear, crudely pretending to be Federales. (This leads to a now-iconic line about not needing to show any "stinking badges.") After a gunfight with the bandits, in which Cody is killed, a real troop of Federales appears and chases away the bandits. When Howard is called away to assist some local villagers, Dobbs, who has become more paranoid, and Curtin constantly argue, until one night when Curtin falls asleep, Dobbs holds him at gunpoint, takes him behind the camp, shoots him, and leaves him for dead. However, the wounded Curtin survives and manages to crawl away during the night.

Dobbs is later ambushed and decapitated by some of the bandits. In their ignorance, the bandits believe Dobbs' bags of unrefined gold are merely filled with sand, and they scatter the gold to the winds. Curtin is discovered by indios and taken to Howard's village, where he recovers. He and Howard miss witnessing the bandits' execution by Federales by only a few minutes as they arrive back in town, and learn that the gold is gone. While checking the area where the bandits dropped the gold, Howard realizes that the winds must have carried the gold away. They accept the loss with equanimity, and then part ways, Howard returning to his village, and Curtin returning home to America. Cast Frame from the film trailer Humphrey Bogart as Fred C. Dobbs Walter Huston as Howard Tim Holt as Bob Curtin Bruce Bennett as James Cody Barton MacLane as Pat McCormick Alfonso Bedoya as Gold Hat Arturo Soto Rangel as El Presidente Manuel Dondé as El Jefe José Torvay as Pablo Edit Block A few notable uncredited actors appear in the film.

In an opening cameo, director John Huston is pestered for money by Bogart's character. Actor Robert Blake also appears as a young boy selling lottery tickets. However, the most controversial cameo is the rumored one by Ann Sheridan. Sheridan allegedly did a cameo as a streetwalker. After Dobbs leaves the barbershop in Tampico (actually a set on a studio soundstage), he spies a passing prostitute who returns his look. Seconds later, the woman is picked up again by the camera, but this time in the distance. Some filmgoers and critics feel the woman looks nothing like Sheridan, but the DVD commentary for the film contains a statement that it is she. A photograph included in the documentary accompanying the DVD release shows Sheridan in streetwalker costume, with Bogart and Huston on the set. However, single frames of the film show a different woman in a different dress and different hairstyle, raising the possibility that Sheridan filmed the sequence but that it was reshot with another woman for indeterminate reasons. Many film-history sources credit Sheridan for the part.

Co-star Tim Holt's father, Jack Holt, a star of silent and early sound Westerns and action films, makes a one-line appearance at the beginning of the film as one of the men down on their luck. Significant portions of the film's dialog are in unsubtitled Spanish. The opening scenes, filmed in longshot in Plaza de la Libertad, Tampico, show modern (i.e. of the 1940s) cars and buses, even though the story opens in 1925, as evidenced by the lottery numbers poster. Quotation Edit Block The film is the origin of a famous line, often misquoted as "We don't need no stinking badges!" (homaged in Mel Brooks' Blazing Saddles, also a Warner Bros. film). The correct dialogue is: In 2005, the quotation was chosen as #36 on the American Film Institute list, AFI's 100 Years...100 Movie Quotes.

Awards and honors ‎The Treasure of the Sierra Madre (1948) directed by John Huston • Reviews, film + cast • Letterboxd 5 A masterwork of outstanding direction, terrific screenplay & brilliant performances, a highly fascinating but equally unsettling illustration of poverty, desperation, greed & its corrupting power, and still retaining all its potency despite being nearly 70 years old, The Treasure of the Sierra Madre is one of American cinema's finest works that not only ranks amongst the best films of the 1940s but is one of the greatest movies ever made. Based on the novel of the same name, the story of The Treasure of the Sierra Madre is set in Mexico during the 1920s and follows two down-on-their-luck Americans who meet an old prospector and convince him to help them mine for gold in the Sierra Madre Mountains. Reluctant at first, the… 6 The longer Bogart stays on screen the darker his face becomes, the whites of his eyes and the pearls of his teeth the last trace of his dwindling humanity, fighting back the growing mistrust.

His journey through the film shows a man who has waited a long time in life for this chance and he intends to make the most of it. Whatever the cost. That sentiment becomes an overbearing presence in his mind, be it the foreman who tries to cheat him out of money, the wild bandits roaming the hills or the creeping paranoia that wedges itself between Hobb's and his co-workers. The more the trio of men scour the land, the more disturbed and insecure he becomes.… Nobody puts one over on Fred C. Dobbs. -Dobbs Sometimes timing is everything. John Huston was trying to get this film into production as early as 1942 but all that was halted when he was activated by the U.S. Army as a documentary filmmaker. When he returned from the war, Humphrey Bogart had continued his rise in popularity that started with Huston's first film, The Maltese Falcon , and was one of Hollywood's biggest stars by this point. He now had final approval on the screenwriter and director of whatever films he would star in. Knowing what Huston had planned on making next, Bogey's decision was already made.

It wasn't the first great collaboration between the two, and it wouldn't be… Gee, look! Zack posted yet another five-starred review. Doesn't this guy have any other defining characteristics apart from blind worship and glowing admiration? No? Deal with it. Oh Lordy, how I love this movie. If you thought some of my other reviews were shameless in praise and hyperbole, you ain't seen nothin' yet! The Treasure of the Sierra Madre is the Jesus Christ of films. ...? What?! That's impossible! I've already made that ridiculous claim about another movie ? Oh, well. This gives me a chance to come up with something more subtle and maybe a little less arrogant instead. Here goes: The Treasure of the Sierra Madre is more important to me than your life. I'd rather watch you die… Review by Bryan Nguyen ★★★★★ Now this is a classic. Released on January 6, 1948 on a box office of $3 million on a budget of $4 million, this Western was written and directed by John Huston. It is a feature film adaptation of B.

Traven's 1927 novel of the same name, about two financially desperate Americans, Fred C. Dobbs (Humphrey Bogart) and Bob Curtin (Tim Holt), who in the 1920s join initially reluctant 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 films to be filmed on location outside the United States (in the state of Durango and street scenes in Tampico, Mexico), although many scenes were filmed… Review by ReelMan ★★★★★ Few modern films can match John Huston's mixture of joyful adventure with the darkness of the soul. Greed and murder are just beneath the surface of the treasure-seekers -- but it is amazing how we not only come to sympathize with them but also champion their quest. There are some startling acts of violence and treachery, particularly from Humphrey Bogart's Fred C. Dobbs. Bogart's performance is memorable as we witness his slow disintegration into paranoia and madness.

The role was a brave choice coming on the heels of playing more heroic characters in movies like The Maltese Falcon, Casablanca, To Have and Have Not, Sahara, and The Big Sleep. The Treasure of the Sierra Madre is probably John Huston's greatest… The Treasure of the Sierra Madre (1948) Pages: ( 1 ) ( 2 ) ( 3 ) ( 4 ) Background The Treasure of the Sierra Madre (1948) is a classic tale of the elusive search for gold in the Sierra Madre Mountains by a trio of ill-matched prospectors that meet in Tampico, Mexico. Director John Huston's third feature film, is a combination adventure story and Western shot almost entirely on location (one of the first). [It was shot in Tampico, San Jose de Purua and in Durango. The night scenes were shot in the studio.] The expensive-to-make ($3 million), over-budget film is also an intense character study showing the corruptive and cancerous effects of greed on the souls of men. It is the definitive film on greed, although Wall Street (1987) with Michael Douglas' Best Actor-winning role as Gordon Gecko comes close.

Although the film did poorly at the box-office when first released, its critical success and a number of re-releases eventually brought it financial returns. Huston often directed films with the theme of a disparate group on a quest/search for wealth, e.g., The Maltese Falcon (1941) , The Asphalt Jungle (1950) , Beat the Devil (1953), The Kremlin Letter (1970), and The Man Who Would Be King (1975). This was Huston's first post-war film. One of the film's posters clarified the theme: "The Nearer They Get to Their Treasure, the Farther They Get From the Law!" After the group strikes it rich, warnings from a crazy but sage old prospector (Walter Huston) about the ways that gold makes a person suspicious and avaricious fall on the deaf ears of a mean, wary and sneering Dobbs (Bogart) - and he meets his just and greedy end at the hands of bandits. One of the bandits delivers one of the most famous lines in film history, briefly spoofed and misquoted in Mel Brooks' Blazing Saddles (1974) ): Badges?

We ain't got no badges! We don't need no badges. I don't have to show you any stinkin' badges! (Note: The bandit never actually said, as in Brooks' film: "Badges? We don't need no stinkin' badges!") The screenplay, written by Huston, was based upon the 1936 novel of the same name by B. Traven (a pen name for Berwick Traven Torsvan), an elusive and mysterious individual who showed up during the filming under an assumed name (as Hal Croves, Traven's representative and 'attorney'), and served as one of the film's technical advisors after claiming that he had been sent by the reclusive author. The Hustons (John and father Walter) received the film's three Academy Awards - out of four nominations: Best Supporting Actor (Walter Huston with his sole Oscar win after three previous losses), Best Director (John Huston), and Best Screenplay (John Huston). Its sole losing nomination was for Best Picture (it lost to Laurence Olivier's Hamlet).

With his award, Huston became the first to direct his own father to an Oscar, and it was the first instance of a son and father winning in the same year. [Huston had previously directed his father in a small, unbilled role in The Maltese Falcon (1941) , his first film. At 78 years of age, he would go on to direct his daughter Angelica in his 40th film Prizzi's Honor (1985) - she won the Best Supporting Actress Oscar. This made the Hustons the first family with three generations of Oscar winners. And John Huston became the only person to direct both his father and daughter in Oscar-winning roles.] Unbelievably, Humphrey Bogart's quintessential role as a paranoid, vicious, and murderous gold-prospector named Fred C. Dobbs (a tremendous, against-type, richly-layered performance) was missing from the nominees. [Director Sam Peckinpah paid homage to Dobbs in Bring Me The Head of Alfredo Garcia (1974), including a character with the same name.] Also lacking was a nomination for the great cinematography by Ted McCord.

[This was Bogart's third collaboration with Huston, after The Maltese Falcon (1941) , and Across the Pacific (1942). He also appeared in Key Largo (1948), his second film with Huston in 1948. Curiously, Claire Trevor won the Best Supporting Actress for her performance in Huston's Key Largo (1948) in the same year. Bogart would go on to make two more films with Huston in his career: The African Queen (1951) , in which he won his sole Best Actor Academy Award, and Beat the Devil (1953).] The Story After the credits, a close-up of a lottery list shows the winning numbers drawn in the Mexican National Lottery, dated February 14, 1925. The camera pulls back to the hands of a man holding a lottery ticket and comparing his number with the posted winners. [Mariachi band music provides soft background ambience.] The scraggly-looking bum, an unkempt, dirty, unshaven and ragged scrounger [later identified as Fred C.

Dobbs "Dobbsie" (Humphrey Bogart)] who is betting on a fortune, tears his losing ticket to pieces and throws it away in anger and disgust. Defeated once again, he turns and walks into the busy, filthy Mexican street and down under a marketplace's archway, where he asks an American for a handout: "Say buddy, will you stake a fellow American...?" The man disregards Dobbs, turns away, moves on and tosses his half-smoked cigarette butt into the street. After pausing - when he stares at it and considers his pride, Dobbs loses the butt to a Mexican street urchin who beats him to it. The youngster, without any hesitation, picks it off the ground and struts away puffing smoke. The disgruntled, hard-luck panhandler quickens his pace after another American, a Man in a White Suit (director John Huston). He asks the affluent gentleman: "Hey mister, could you stake a fellow American to a meal?" To his surprise, Dobbs is handed a coin.

At an outdoor sidewalk cafe after ordering coffee, a meal and smokes, a ragged Mexican beggar boy (a young Robert Blake) tries to sell Dobbs another lottery ticket, but he turns surly and irritable. He bursts into a rage at the scamp: "Beat it. I ain't buying no lottery tickets." He projects his own annoyance and resentment of beggars at the boy (although he is one himself): Get away from me, ya little beggar! To get rid of the kid, he becomes a bully and flings a glass of water in the boy's face. But then feeling compelled to buy the ticket from the persistent boy and believing (against all hope) that he might win ("Add the figures up, you get thirteen. What better number could you buy? It's a sure winner"), he is persuaded to purchase a minuscule part of a ticket for a drawing three weeks off: "All right. Give me a twentieth so I don't have to look at your ugly face." Leaving the restaurant, Dobbs walks across the street to the park where he sits down on one of the benches in the plaza's square next to a fellow vagrant struggling under similar circumstances.

Sharing a cigarette and grousing small talk, the two befriend each other in the hot, mid-1920s Tampico, Mexico, on the edge of newly-discovered oil fields. They are both broke, out-of-work, starving and reduced to the humiliation of begging. Dobbs laments that a white gringo without work is doomed to lower-class status. If he was to shine shoes or sell lemonade on the street, that would guarantee his ostracism by fellow gringos, or worse, discrimination (by hounding and pestering) from the natives. He bemoans his isolation and inability to function within the alien culture ("It's some town to be broke in"): If I was a native, I'd get me a can of shoe polish and I'd be in business. They'd never let a gringo. You can sit on a bench to get three-quarters starved. You can beg from another gringo. You can even commit burglary. But try shining shoes in the street or peddling lemonade out of a bucket and your hash is settled. You'd never get another job from an American.

Seeing the generous Man in the White Suit reading the paper while having his shoes shined, Dobbs goes over and again asks for a hand-out. He turns speechless a second time when handed a coin from the scowling man. In the next scene in the local barber shop after treating himself to a shave and haircut, the dramatic barber unwraps Dobbs' head, douses his face with after-shave and powder, raises the seat and then combs his greased-down hair. Dobbs inspects the barber's handiwork - his entire slickened head - with a mirror and non-verbally expresses his satisfaction. Out on the street after emerging from the shop, the seedy-looking bum notices how his hat fits more loosely. After spending part of the handout on improving his appearance, he longs to purchase sex for hire, but his poverty inhibits him. His eyes follow a passing Mexican lady/prostitute? (an unlikely, unbilled appearance by actress Ann Sheridan) who retreats up into a two-story structure - labeled with a sign in Spanish: "CUARTOS AMUEBLADOS" (meaning "Furnished Rooms for Rent").

When the white-suited American is asked a third time for money, he becomes irritated and rebukes him for his parasitism. The dejected panhandler apologizes, explaining that he is ashamed to be asking for pesos and cannot look his marks/benefactors in the eye. He is given two more pesos coins so that he won't forget his promise to "never put the bite" on him again. Dobbs is warned by the Man in the White Suit that his philanthropy will cease: White Suit: Such impudence never came my way. Early this afternoon I gave you money. When I was having my shoes polished, I gave you more money. Now you put the bite on me again. Do me a favor, will ya? Go occasionally to somebody else. It's beginning to get tiresome. Dobbs: Oh, excuse me, mister. I never knowed it was you. I never looked at your face. I just looked at your hands and the money you gave me. Beg my pardon, mister. I promise I'll never put the bite on you again. White Suit: (He hands over a peso.) This is the very last you get from me.

Just to make sure you don't forget your promise, here's another peso. (He hands him a second peso.) ...But from now on, you have to make your way through life without my assistance. [The in-joke is that the director often provided the livelihood for Bogart by having him star in six of his films, including The Maltese Falcon (1941) , Across the Pacific (1942), and Key Largo (1948). Incidentally, Huston also wrote the screenplay for High Sierra (1941), another Bogey vehicle.] Outside a cantina, the bum panhandles from another mark - an entrepreneur with an oil-rigging outfit who instead offers him a construction job to rig a camp - "it's hard work but good pay...Eight bucks American a day." Dobbs is enticed to accept work from the seemingly-benevolent contractor Pat McCormick (Barton MacLane): "I'm your man." As they walk to the ferry, they pass a store display with stiff male and female mannequins dressed in wedding attire - lifelessly advertising and selling love to the masses.

At the landing, Dobbs recognizes one of the work gang, a motley, haggard crew of drifters and soldiers of fortune, as the man with whom he had a conversation on the bench during the morning. In the darkness of night, the ferry whistle blows, the gate swings closed, and fifty men are ferried into the jungle. They work long, back-breaking hours in the steam, smoke and hellish, tropical heat of the camp rigging and erecting an oil derrick: "It's a hundred and thirty in the shade an' there ain't any shade up there on that derrick." Their pay is withheld until the job is done, but they are promised a bonus if they finish within two weeks. When they "step off the ferry" in Tampico after the job is done, McCormick promises the two panhandlers that he must go to the office and pick up the payroll. He gives them ten pesos in advance and promises to meet them about an hour later at the cantina right off the Plaza. By seven o'clock that evening, the two have been drinking in the cantina waiting for McCormick - and they're left high and dry.

Another customer has experienced the contractor's reputation for absconding with funds and lets them know about McCormick's shady character - he fleeces "foreigners and half-baked Americans." Early on, they share tribulation together - having learned the lesson that when money is involved, no one can be trusted: Only foreigners and half-baked Americans fall for McCormick's tricks...I mean he hires dumb guys like you to work for him, and when it comes time to pay off, he takes a powder. The younger American, named Curtin (B-movie actor Tim Holt), asks the mangy American drifter Dobbs how many centavos are left between them and wonders whether they can afford a bed in a cockroach-infested flophouse. Dobbs tells Curtin about some cheap sleeping quarters for the night: "I know a joint that's full of rats, scorpions, and cockroaches. The cots are only fifty centavos a night." In Dormitorio "El Oso Negro," the two check in and move down the narrow aisle between rows of cots on which other disinherited Americans are sitting or lying.

They pass by and overhear a scruffy, experienced, eccentric, toothless old gold prospector named Howard (Walter Huston, the director's father) who has gathered an enthralled audience while describing the adventurous hunt for gold: Howard: Gold in Mexico? Why sure there is. Not ten days from here by rail and pack train, there's a mountain waitin' for the right guy to come along, discover her treasure, and then tickle her until she lets him have it. The question is, are you the right guy? Aw, real bonanzas are few and far between that take a lot of finding. Say, answer me this one, will ya? Why's gold worth some twenty bucks an ounce? Another man: I don't know. 'Cause it's scarce. Howard: A thousand men, say, go searchin' for gold. After six months, one of 'em's lucky - one out of the thousand. His find represents not only his own labor but that of 999 others to boot. That's uh, 6,000 months, uh, 500 years scrambling over mountains, goin' hungry and thirsty.

An ounce of gold, mister, is worth what it is because of the human labor that went into the findin' and the gettin' of it. Man: Never thought of it just like that... Howard: Well, there's no other explanation, mister. Gold itself ain't good for nothin' except for makin' jewelry with, and gold teeth. The shrewdly wise, grizzled and garrulous Howard continues to regale the others (including Dobbs and Curtin now) with his lighthearted tales about the seductive, "devilish" lure of gold. The old prospector's stories of gold-mining fire their imaginations as he describes how greed usually takes its toll on treasure-seekers: Aw, gold's a devilish sort of a thing anyway. You start out to tell yourself you'll be satisfied with 25,000 handsome smackers worth of it, so help me Lord and cross my heart. Fine resolution. After months of sweatin' yourself dizzy and growin' short on provisions and findin' nothin', you finally come down to 15,000 and then 10.

Finally you say, 'Lord, let me just find $5,000 dollars worth and I'll never ask for anything more the rest of my life.'...Yeah, here in this joint, it seems like a lot. But I tell you, if you was to make a real strike, you couldn't be dragged away. Not even the threat of miserable death wouldn't keep you from tryin' to add $10,000 more. $10,000, you'd want to get 25. $25,000, you'd want to get 50. $50,000, a 100. Like roulette. One more turn, you know, always one more. Half-drunk, Dobbs can't restrain himself and interrupts the conversation: It wouldn't be that way with me. I swear it wouldn't. I'd take only what I set out to get, even if there was still a half a million dollars worth lying around waitin' to be picked up.

The crusty old Howard looks at Dobbs and then continues with stories to his fellow "down-and-outers." He recalls his past gold quests all over the world - as though he hadn't been interrupted. He ends his tales of experience (when he witnessed "what gold does to men's souls") by describing how the noble, friendly, and solid intentions of gold-seekers vanished after gold was discovered: Howard: I've dug in Alaska and Canada and Colorado. I was with the crowd in the British Honduras where I made my fare back home and almost enough over to cure me of the fever I'd caught. Dug in California and Australia. All over the world practically. Yeah, I know what gold does to men's souls Another man: You talk as though you struck it rich sometime or other, Pop. How about it? Then what are you doin' in here, a down-and-outer? Howard: That's gold, that's what it makes us. Never knew a prospector yet that died rich. Make one fortune, he's sure to blow it in tryin' to find another. I'm no exception to the rule.

Aw sure, I'm a gnawed old bone now, but say, don't you guys think the spirit's gone. I'm all set to shoulder a pickax and a shovel anytime anybody's willin' to share expenses. I'd rather go by myself. Going it alone's the best way. But you got to have a stomach for loneliness. Some guys go nutty with it. On the other hand, goin' with a partner or two is dangerous. Murderers always lurkin' about. Partners accusin' each other of all sorts of crimes. Aw, as long as there's no find, the noble brotherhood will last. But when the piles of gold begin to grow, that's when the trouble starts After listening to the philosophical old-timer speak about the destabilizing effects of wealth, Curtin and Dobbs share their own reactions: Curtin: Me, now, I wouldn't mind a little of that kind of trouble. Dobbs: I think I'll go to sleep and dream about piles of gold gettin' bigger and bigger and bigger...

The next afternoon on the Plaza bench while they lounge about, Curtin and Dobbs contemplate Howard's warnings of what lusting for gold can do to a man's soul. Although Howard has wisely warned them that the desire for wealth is tremendously destructive (causing greed, distrust, and hatred), they haven't been persuaded by his prophetic remarks to stop dreaming about sudden wealth. They deny their own vulnerability when Dobbs asserts that gold isn't inherently evil ("gold can be as much of a blessing as a curse"). He is assured that he will be the unique "right guy" - the one who won't be affected by gold's perennial curse: Dobbs: Do you believe what that old man who was doin' all the talkin' at the Oso Negro said the other night about gold changin' a man's soul so that he ain't the same kind of a guy that he was before findin' it? Curtin: Guess that all depends on the man. Dobbs: That's exactly what I say. Gold don't carry any curse with it. It all depends on whether or not the guy who finds it is the right guy. The way I see it, gold can be as much of a blessing as a curse.

The Treasure of the Sierra Madre - DVD The Treasure of the Sierra Madre (1948) DVDs and Movies - Just The Good Stuff Directed by: John Huston Starring: Humphrey Bogart, Walter Huston, Tim Holt The Treasure of the Sierra Madre ranked # 30 on the American Film Institute's Top 100 American Films list. The Treasure of the Sierra Madre is a black & white 1948 John Huston film in which two american down-and-outers (Humphrey Bogart and Tim Holt) in 1920s Mexico (bothering director John Huston for money in a fun opening cameo) hook up with an old-timer (Walter Huston, the director's father) to prospect for gold. The old-timer accurately predicts trouble but is willing to go anyway. The Treasure of the Sierra Madre was one of the first films to be shot almost entirely on location outside the U.S. (though the night scenes were filmed back in the studio). The film was based on, and is quite faithful to the novel of the same name by the enigmatic, anarchist-leaning German-English bilingual author B. Traven.

John Huston won the Academy Award for Directing in 1948 for his work on The Treasure of the Sierra Madre. The film is consistently in the Internet Movie Database's top 250 films, and has also been deemed "culturally significant" by the United States Library of Congress and selected for preservation in the National Film Registry. The Treasure of the Sierra Madre (film) : definition of The Treasure of the Sierra Madre (film) and synonyms of The Treasure of the Sierra Madre (film) (English) Budget $3,800,000 (est.) The Treasure of the Sierra Madre is John Huston 's 1948 American feature film adaptation of B. Traven 's 1927 novel of the same name , in which two penurious Americans ( Humphrey Bogart and Tim Holt ) during 1920s in Mexico join with an old-timer ( Walter Huston , the director's father) to prospect for gold . The old-timer accurately predicts trouble, but is willing to go anyway.

The Treasure of the Sierra Madre was one of the first Hollywood films to be filmed almost entirely on location outside the United States (in the state of Durango and street scenes in Tampico , Mexico), although the night scenes were filmed back in the studio. The film is quite faithful to the novel. Contents 7 External links Background By the 1920s the violence of the Mexican Revolution had largely subsided, although scattered gangs of bandits continued to terrorize the countryside. The newly established post-revolution government relied on the effective, but ruthless, Federal Police, commonly known as the Federales , to patrol remote areas and dispose of the bandits. Foreigners, like the three American prospectors who are the protagonists in the story, were at very real risk of being killed by the bandits if their paths crossed. The bandits, likewise, were given little more than a "last cigarette " by the army units after capture, even having to dig their own graves first. Plot This is the context in which the three gringos band together in a small Mexican town and set out to strike it rich in the remote Sierra Madre mountains. They ride a train into the hinterlands, surviving a bandit attack en route.

Once out in the desert, Howard, the old-timer of the group, quickly proves to be by far the toughest and most knowledgeable; he is the one to discover the gold they are seeking. A mine is dug, and much gold is extracted. Greed soon sets in and Dobbs (Humphrey Bogart) begins to lose both his trust and his sanity, lusting to possess the entire treasure. Dobbs is also paranoid that he will be killed by his partners. At this time a fourth American shows up, which sets up a moral debate about what to do with the new stranger. The bandits then reappear, pretending, very crudely, to be Federales, which leads to the now-iconic line about not needing to show any "stinking badges". After a gunfight, and the fourth American is killed, a real troop of Federales appear and drive the bandits away. But when Howard is called away to assist some local villagers, Dobbs and third partner Curtin have a final confrontation, which Dobbs wins, leaving Curtin lying shot and presumed dead. However, Curtin crawls to safety.

Later, Dobbs is murdered (via decapitation) by some surviving bandits, who, in their ignorance, scatter the gold to the winds. Curtin is discovered and taken to Howard's village, where he recovers. He and Howard miss witnessing the bandits' execution by Federales by only a few minutes as they arrive back in town, and learn that the gold is gone. While checking the areas that the bandits dropped the gold, Howard realizes that the winds must have carried the gold away. They accept the loss with equanimity, and then part ways, Howard returning to his village, and Curtin returning home to America. Cast Arturo Soto Rangel as El Presidente Manuel Dondé as El Jefe José Torvay as Pablo Margarito Luna as Pancho A few notable uncredited actors appear in the film. In an opening cameo, director John Huston is pestered for money by Bogart's character. Actor Robert Blake also appears as a young boy selling lottery tickets. However, the most controversial cameo is the rumored one by Ann Sheridan . Sheridan allegedly did a cameo as a streetwalker.

After Dobbs leaves the barbershop in Tampico (actually a set on a studio soundstage), he spies a passing prostitute who returns his look. Seconds later, the woman is picked up again by the camera, but this time in the distance. Some filmgoers and critics feel the woman looks nothing like Sheridan, but the DVD commentary for the film contains a statement that it is she. A photograph included in the documentary accompanying the DVD release shows Sheridan in streetwalker costume, with Bogart and Huston on the set. However, single frames of the film show a different woman in a different dress and different hairstyle, raising the possibility that Sheridan filmed the sequence but that it was reshot with another woman for indeterminate reasons. [1] Many film-history sources credit Sheridan for the part. Co-star Tim Holt's father, Jack Holt , a star of silent and early sound Westerns and action films, makes a one-line appearance at the beginning of the film as one of the men down on their luck. Significant portions of the film's dialog is in unsubtitled Spanish .

Quotation Main article: Stinking badges The film is the origin of a famous line, often misquoted as "We don't need no stinking badges!" (homaged in Mel Brooks ' Blazing Saddles , also a Warner Bros. film). The correct dialogue is: Gold Hat ( Alfonso Bedoya ): We are Federales... you know, the mounted police. Dobbs (Bogart): If you're the police, where are your badges? Gold Hat (Bedoya): Badges? We ain't got no badges. We don't need no badges! I don't have to show you any stinkin' badges! In 2005, the quotation was chosen as #36 on the American Film Institute list, AFI's 100 Years... 100 Movie Quotes . Awards and honors John Huston won the Academy Award for Directing and Academy Award for Writing Adapted Screenplay in 1948 for his work on The Treasure of the Sierra Madre. Walter Huston, John Huston's father, also won the Academy Award for Best Supporting Actor for his role in this film, the first father-son win.

The film was nominated for the Best Picture award, but lost to Laurence Olivier 's film adaptation of Hamlet . In 1990, this film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". Director Stanley Kubrick listed The Treasure of Sierra Madre as one of his top ten favorite films, and director Paul Thomas Anderson watched it at night before bed while writing his film There Will Be Blood . [2] Treasure of the Sierra Madre Humphrey Bogart, Walter Huston, Tim Holt John discussed the part of Howard with his father. "John said he saw my part as an old man who talks fast and throws away his lines, a hard-bitten old prospector used to spending weeks and months in solitude. I told John that's the way I envisioned the old coot, too." Lauren Bacall said of them on location that they were "like a couple of kids together--they made each other laugh and enjoyed and understood each other's wickedness." Walter was "a wildly attractive man, and he had incredible charm. Younger, he would have killed women.

I had the same feeling about Walter that I always had about John, he was a man you couldn't pin down. Walter was a devil, with his white hair and white beard, always taking his teeth out. And physically, he moved so well, better than John." Before they shot the discovery scene, Walter told John not to cut at the end of it and let the camera roll, he had a surprise. The idea for the dance was Walter's, he had been taught the jig by Eugene O'Neill when he played Desire Under the Elms for him on stage. "When he does that dance of triumph the goose flesh comes out and my hair stands up, " John said, "It was certainly the finest performance in any picture I ever made." Bogart watched Walter steal that scene and the whole movie. "One Huston is bad enough, but two are murder" he groused. Other casting notes: John Huston plays a bit as the American Bogart is always pestering for the price of a meal . Ann Sheridan, in heavy make-up supposedly played a whore in the background of one of the scenes as a good luck gesture, but I can't find her.

Tim Holt's father, Jack Holt, who had been in silent films and went on to a long career in horse operas himself, appears briefly, sitting next to Walter Huston at the fleabag Oso Negro. The street kid who pesters Dobbs to buy a lottery ticket is Robert Blake. He had a long career as a child actor before acting as an adult in In Cold Blood and on tv as Baretta and lately, star of the tabloids. He said he had spied on Bogart in his dressing room as he ran his lines to himself in the mirror, and that he was continually cutting his dialogue, to make it as brief as possible. Blake couldn't imagine any actor trying to get himself fewer lines, but Bogart's dedication knew no bounds. This is clearly one of his greatest roles, as the Hollywood Reporter said of him, Dobbs is "a loathsome character that few leading men would play." Treasure of the Sierra Madre was one of the first American films shot almost completely on location outside the US.

Tampico, Mexico, was the jumping off point, but Huston wanted his cast far from civilization as possible, which to Bogart was anyplace where you couldn't drive to Mike Romanoff's restaurant for a drink. "John wanted everything perfect" he said. "I have to admire him for that, but it was plenty rough on our troupe. We had nice quarters--sure. But, John didn't make any shots around that beautiful little resort village where we stayed. No. He had to go up in the hills. I mean MOUNTAINS. If he saw a nice, close mountain, than that was no good. If we could get to a location site without fording a couple of streams and walking through rattlesnake-infested areas in the scorching sun, then it wasn't quite right. We got to calling him 'Hard Way Huston.' Huston father and son took the opportunity of sampling marijuana on location, but not Bogart. And, he found only two Spanish words worth learning: "Dos Equis," so he could order a beer.

Stage veteran Walter Huston thought "acting is not supposed to be done outdoors." But, Bogart conceded, "It's always better to shoot a hot weather picture in a hot country. You get a different expression on your face." Alfonso Bedoya declines to show his identification to Bogart Back in Hollywood, Jack Warner was horrified by the whole project. Studios didn't like location work because they couldn't supervise their directors closely, and Huston of course, relished the freedom. Warner complained, the three actors looked like bums, Walter didn't have his teeth, there were no women, no sex and the Mexican bandits spoke Spanish. Later, he would say, "This is definitely the greatest motion picture we have ever made." The glowing reviews helped of course, but even better were the three Oscars, to John for writing and directing, and Walter, as Best Supporting Actor, the only such honor of his career.

In his acceptance speech he said, "Many, many years ago, I raised a son and I said to him, if you ever become a writer or director, please find a good part for your old man." The Hustons and their Oscars James Agee was a great admirer of John Huston's films, and his lucid writing about them was quite influential. His long piece for Life magazine, "The Undirectable Director" was largely about Treasure of the Sierra Madre, and initiated the friendship between the two that resulted in collaboration on the script for The African Queen. He wrote, Huston's films "continually open the eye and require it to work vigorously, and through the eye they awaken curiosity and intelligence. That, by any virile standard I essential to good entertainment. It is unquestionably essential to good art." Traven wrote to Huston, "No matter how hard you work, no matter how ferociously you fight, no matter how intensively you struggle for existence you can never be sure of your gains or your property unless you have consumed it.

Only what is in your tummy and what is in your brain is really yours." * Trivia note: In both Butch Cassidy and the Sundance Kid and Treasure of the Sierra Madre, the heroes are betrayed by a burro with the identical brand mark. Homage or thievery? * Photos: Trio portrait from Jerry Ohlinger's Movie Material Store, in tent: Warner Brothers Presents by Ted Sennett, two Hustons from Evelyn Keyes autobiography, Bogart and Bedoya from The Movies by Richard Griffith. Sound Clip was sent to me long ago by ?? Sources include: The Hustons by Lawrence Grobel, An Open Book by John Huston, Perspectives on John Huston, especially Richard T. Jameson's essay, Bogart by A. M. Sperber and Eric Lax, Bogart, A Life in Hollywood by Jeffrey Meyers, City Boys by Robert Sklar, Agee on Film by James Agee, Scarlett O'Hara's Younger Sister by Evelyn Keyes.

c.moviediva2002March Movie Review - - TREASURE OF THE SIERRA MADRE - NYTimes.com TREASURE OF THE SIERRA MADRE By Bosley Crowther Published: January 24, 1948 Greed, a despicable passion out of which other base ferments may spawn, is seldom treated in the movies with the frank and ironic contempt that is vividly manifested toward it in Treasure of Sierra Madre. And certainly the big stars of the movies are rarely exposed in such cruel light as that which is thrown on Humphrey Bogart in this new picture at the Strand. But the fact that this steel-springed outdoor drama transgresses convention in both respects is a token of the originality and maturity that you can expect of it. Also, the fact that John Huston, who wrote and directed it from a novel by B. Traven, has resolutely applied the same sort of ruthless realism that was evident in his documentaries of war is further assurance of the trenchant and fascinating nature of the job. Taking a story of three vagrants on "the beach" in Mexico who pool their scratchy resources and go hunting for gold in the desolate hills. Mr.

Huston has shaped a searching drama of the collision of civilization's vicious greeds with the instinct for self-preservation in an environment where all the barriers are down. And, by charting the moods of his prospectors after they have hit a vein of gold, he has done a superb illumination of basic characteristics in men. One might almost reckon that he has filmed an intentional comment here upon the irony of avarice in individuals and in nations today. But don't let this note of intelligence distract your attention from the fact that Mr. Huston is putting it over in a most vivid and exciting action display. Even the least perceptive patron should find this a swell adventure film. For the details are fast and electric from the moment the three prospectors start into the Mexican mountains, infested with bandits and beasts, until two of them come down empty-handed and the third one, the mean one, comes down dead. There are vicious disputes among them, a suspenseful interlude when a fourth man tries to horn in, and some running fights with the banditi that will make your hair stand on end. And since the outdoor action was filmed in Mexico with all the style of a documentary camera, it has integrity in appearance, too.

Most shocking to one-tracked moviegoers, however, will likely be the job that Mr. Bogart does as the prospector who succumbs to the gnawing of greed. Physically, morally, and mentally, this character goes to pot before our eyes, dissolving from a fairly decent hobo under the corroding chemistry of gold into a hideous wreck of humanity possessed with only one passionto save his "stuff." And the final appearance of him, before a couple of roving bandits knock him off in a manner of supreme cynicism, is one to which few actors would lend themselves. Mr. Bogart's compensation should be the knowledge that his performance in this film is perhaps the best and most substantial that he has ever done. Equally, if not more, important to the cohesion of the whole is the job done by Walter Huston, father of John, as a wise old sourdough. For he is the symbol of substance, of philosophy, and fatalism, in the film, as well as an unrelenting image of personality and strength. And Mr. Huston plays this ancient with such humor and cosmic gusto that he richly suffuses the picture with human vitality and warmth.

In the limited, somewhat negative role of the third prospector, Tim Holt is quietly appealing, while Bruce Bennett is intense as a prospecting lone wolf and Alfonso Bedoya is both colorful and revealing as an animalistic bandit chief. To the honor of Mr. Huston's integrity, it should be finally remarked that women have small place in this picture, which is just one more reason why it is good. TREASURE OF THE SIERRA MADRE (MOVIE) Directed by John Huston; written by Mr. Huston, based on the novel by Berwick Traven; cinematographer, Ted McCord; edited by Owen Marks; music by Max Steiner; art designer, John Hughes; produced by Henry Blanke; released by Warner Brothers. Black and white. Running time: 126 minutes. With: Humphrey Bogart (Dobbs), Walter Huston (Howard), Tim Holt (Curtin), Bruce Bennett (Cody), Barton MacLane (McCormick), Alfonso Bedoya (Gold Hat), A.

Soto Rangel (Presidente), Manuel Donde (El Jefe), Jose Torvay (Pablo), Margarito Luna (Pancho), Jacqueline Dalay (Flashy Girl), and Bobby Blake (Mexican Boy).

Question: Which 'John' directed (and had a cameo in) the film 'The Treasure of the Sierra Madre'?
Answer: John Huston