John Huston
137 connections found
Filmography
Fat City 1972 
The Dead 1987 
The Maltese Falcon 1941 
Moby Dick 1956 
Reflections in a Golden Eye 1967 
The Asphalt Jungle 1950 
Key Largo 1948 
The African Queen 1952 
Prizzi's Honor 1985 
The List of Adrian Messenger 1963 
The Misfits 1961 
The Man Who Would Be King 1975 
The Treasure of the Sierra Madre 1948 
The Unforgiven 1960 
The Red Badge of Courage 1951 
Under the Volcano 1984 
Wise Blood 1979 
The Night of the Iguana 1964 
Freud: The Secret Passion 1962 
The Life and Times of Judge Roy Bean 1972 
Beat the Devil 1953 
Let There Be Light 1946 
Across the Pacific 1942 
Annie 1982 View:
Connections, in both directions
The Lighthouse (2019)
Directed by Robert Eggers
influenced by Moby Dick (1956)
Themes Characters Dialogue
At any rate, the phrase serves as an apt summation of the movie he’s in, a maritime nightmare awash in mythological references, Moby Dick paraphrases, and “Rime of the Ancient Mariner” samples.
The Moby Dick parallel is so overt that Pattinson’s character at one point even screams that Dafoe’s must’ve come from that book.
The problem is that there isn’t any restraint in the work they are doing – both have their performances turned all the way to 11. Dafoe, in particular, with his accent and cadence, seems not so much like he’s creating a character from cloth as he is in emulating the kind of character we’ve seen from Treasure Island to Moby Dick – the crusty sea captain, with all the cliches that come with it.
The taciturn Winslow (Pattinson) and sea-salty Wake (Dafoe) don’t have much in common — Wake is like flinty Captain Ahab of “Moby Dick” — but they both have secrets about to be pried loose by the wind and waves.
Tom — hilariously prone to declaiming a mixtape of Shakespeare and outtakes from Moby Dick — sums up his marital history with the refrain, “Thirteen Christmases at sea, little ones at home, she never forgave me.”
Brick (2006)
Directed by Rian Johnson
influenced by The Maltese Falcon (1941), Key Largo (1948)
Themes Characters Plot
The largely accepted chronological definition of what �film noir� is is that it more or less began with The Maltese Falcon in 1941, and came to a triumphant end with Touch of Evil in 1958.
Yet by the end of the movie this awesome meathead has become a poignant figure, wounded by love and conscious that -- like Wilmer in The Maltese Falcon -- he's nothing but a pawn to his boss.
As the plot gets increasingly complex (though no more so than "The Maltese Falcon," to which this film gives many nods), "Brick" becomes less clever and more quirky; at times so overwrought that it becomes a little silly.
If the great mystery writer Dashiell Hammett ("The Maltese Falcon," "The Glass Key") had written about teenagers, it might have turned out to be quite a bit like "Brick," a moody puzzler written and directed by Hammett admirer Rian Johnson.
While Humphrey Bogart and the lowlifes that peppered hard-boiled masterpieces like “The Maltese Falcon” always seemed one small step away from disaster, the high schoolers in “Brick” also seem precariously balanced on a ledge.
Even though we’ve seen films go down the same way since “Key Largo,” the final two scenes are exceptional.
Whether it’s the clear inspiration of the untouchable classic The African Queen , the unavoidable flavor of any Indiana Jones entry, a surprising amount of similarity to Stephen Sommers’s The Mummy , or even the shocking number of recognizable beats and concepts from another Disney theme park ride that was turned into a movie.
As long as you don't compare it to The African Queen, Jungle Cruise is an amusing action adventure that's mediocre and harmless without taking itself too seriously, except for one scene where the Frank recalls his traumatic past that feels tonaly uneven when juxtaposed with the rest of the film.
Based on the theme park ride, “Jungle Cruise” is a celebration of the ride; a cheeky, frolicky fun homage to “The African Queen,” “Romancing the Stone” and then throw in all what Disney does best.
In fact, the original ride was designed with John Huston’s 1951 classic film, The African Queen , starring Humphrey Bogart and Katharine Hepburn as an inspiration.
That movie was 1951’s The African Queen , the key inspiration for Walt Disney and Harper Goff when designing the Disneyland Jungle Cruise ride.
Based on an opening day Disneyland ride heavily inspired by John Huston’s The African Queen , the long-delayed Jungle Cruise is unnecessary, unoriginal and practically unwatchable.
The Master (2012)
Directed by Paul Thomas Anderson
influenced by Let There Be Light (1946)
Visuals Themes
Paul Thomas Anderson was inspired by John Huston's 1946 documentary "Let There Be Light," a black and white film about WWII veterans undergoing psychiatric treatment and it is included here.
Audio English DTS-HD Master Audio 5.1 surround SubtitlesEnglish, Spanish Supplements “Back Beyond” outtakes and additional scenes “Unguided Message” behind-the-scenes featurette Teasers and trailers Let There Be Light (1946) documentary DistributorAnchor Bay Home Entertainment SRP$39.99 Release DateFebruary 26, 2012 VIDEO & AUDIO The Master looks superb on Blu-Ray.
Freddie has come out of the Navy, and the battles of the Pacific theater, "a neuro-psychiatric casualty" - a term from John Huston's postwar documentary Let There Be Light, about the rehabilitation of traumatized returning veterans, that Anderson has borrowed heavily from for his film.
Anderson took many of his cues from John Huston’s 1945 government documentary Let There Be Light, which explored trauma and depression in soldiers after combat.
Time has vindicated Huston's viewpoints: in addition to Let There Be Light serving as one inspiration for Paul Thomas Anderson's The Master, both Let There Be Light and "San Pietro" were selected for the National Film Registry, for their importance to national history and cinema history.
There Will Be Blood (2007)
Directed by Paul Thomas Anderson
influenced by The Treasure of the Sierra Madre (1948), Moby Dick (1956), Wise Blood (1979), The Night of the Iguana (1964), Key Largo (1948), The African Queen (1952), The Maltese Falcon (1941)
Visuals Themes
Then again, Day-Lewis' oversized turn is right in line with Paul Thomas Anderson's oversized ambitions in creating a modern-day masterpiece, a movie so audacious that it flagrantly apes Citizen Kane during its final half-hour and recalls The Treasure of the Sierra Madre at regular intervals.
Moments of cinematic homage to "The Treasure of the Sierra Madre" are evident in a miraculous picture that is simultaneously an art film and a mainstream masterpiece.
Anderson has cited John Huston's The Treasure of the Sierra Madre as a huge influence on this project.
The movie resonates with our memories of old films like "The Treasure of the Sierra Madre," "Elmer Gantry" and, especially, "Citizen Kane."
As in another American classic, The Treasure of the Sierra Madre, it's not the gold that destroys men's souls but greed; in There Will Be Blood, the commodity that drives the greed is oil.
Elsewhere, Anderson has cited The Treasure of the Sierra Madre as his favorite film, and no portrait of an isolated, half-mad American tycoon can escape the shadow of Citizen Kane .
Though there are echoes here of the 1939 film Gunga Din (also adapted from Kipling), The Man Who Would Be King perhaps best recalls The Treasure of the Sierra Madre and The Maltese Falcon, Huston's earlier classics about enterprising men who seek treasure and discover the darkness of their hearts.
On the one hand, it's a rollicking tall tale, a light, comical, swashbuckling yarn in the tradition of RKO's "Gunga Din."
In marvelous old movies like "Lives of the Bengal Lancers" and "Gunga Din," this world is very far removed and terribly romantic, as it still is in John Huston's highly entertaining new film, "The Man Who Would Be King," based on the short story by Rudyard Kipling.
The movie invites comparison with the great action films like "Gunga Din" and "Mutiny on the Bounty," and with Huston's own classic " The Treasure of the Sierra Madre ": We get strong characterizations, we get excitement, we even get to laugh every once in a while.
In its own way, Huston’s film is part of that last stand, even though it’s an old-fashioned adventure yarn of the Gunga Din (1939) school.
Gods and Generals (2003)
Directed by Ronald F. Maxwell
influenced by The Red Badge of Courage (1951)
Themes
Even in John Huston’s somnambulistic and (in my opinion) overrated 1951 film of Stephen Crane’s The Red Badge of Courage, some of the interior logic of the novel was echoed with a delicacy and depth of feeling that is sadly missing here.
As the great-great grandson of Union soldier Robert Lybarger, I have to confess that good American Civil War stories like Gone with the Wind, Glory, The Red Badge of Courage or even Pharaoh's Army do have a special place in my heart.
The self-seriousness of these struggles is underscored by the fact that Chase and Glass were both real dudes — the Essex ordeal would provide fuel for Moby Dick, while Glass's life inspired the 2002 Michael Punke novel on which The Revenant is based.
Aunque el guión está parcialmente inspirado en el libro de Michael Punke, cuyo personaje principal realmente existió y forma parte del folklore estadounidense, el encuentro entre hombre-bestia y bestia sirve como metáfora de la lucha por lo imposible (similar a la manera en la que Herman Melville lo acentó en el mítico viaje hacia el abismo del navío comandado por el capitán Ahab en contra de la ballena blanca, en Moby Dick; o como lo es el propio quehacer cinematográfico para muchos, un devenir constante de tropiezos y sinsabores superados por la fortaleza y la fe de su director, y por quienes cierran los ojos a la realidad y deciden creer ciegamente en él).
Three Kings (1999)
Directed by David O. Russell
influenced by The Red Badge of Courage (1951), The Man Who Would Be King (1975)
Themes
It combines the mercenary workings of "Treasure of the Sierra Madre" with the "The Red Badge of Courage."
There's "The Man Who Would Be King," also about Westerners who thought to get rich off of native peoples, and John Ford's "Three Godfathers," about tough guys who have a change of heart in the desert.
With a sober humanism reminiscent of John Huston’s Fat City , The Wrestler poignantly submerges itself in the nooks and crannies of sports’ minor leagues, even as its traditional narrative arc—Randy risks life and limb for autumnal glory, woos Cassidy, and, in the film’s clunkiest subplot, reconnects with estranged daughter Stephanie (Evan Rachel Wood)—pushes slightly too hard with Christ-like undertones that imagine Randy sacrificing himself for our sinful entertainment.
Gritty, blue-collar US sports films were a genre unto themselves in the 1970s, from John Huston's 1972 boxing melodrama Fat City to Sylvester Stallone's 1976 breakthrough role in Rocky and the vastly underrated hockey flick Slap Shot with Paul Newman in 1977.
Aronofsky and writer Robert D. Siegel obviously know John Huston's Fat City (1972), which is one of my favorite sports films The Wrestler, though not as stellar, has much in common with it.
The pathos of personal ruin is an established trope, and the trick, as demonstrated by John Huston in “Fat City” and by Martin Scorsese in “Raging Bull,” is to stop it from sliding into the sentimental.
After 1951’s The African Queen set the standard for adventure-romances by uniting its era’s biggest stars on a high-stakes trip, and 1984’s Romancing the Stone parlayed the same concept into a crowd-pleasing blockbuster, many filmmakers have tried to replicate the formula.
This includes an encounter with leeches that goes far beyond anything Humphrey Bogart and Katharine Hepburn had to deal with in “The African Queen.”
Harrison Ford and Anne Heche are much funnier in Six Days, Seven Nights as were Humphrey Bogart and Kathryn Hepburn in The African Queen.
This type of story has been done countless times, perhaps most notably in films like The African Queen and Romancing the Stone , but that doesn’t mean there aren’t simple pleasures to be found within.
A surface-level skim of Robert Zemeckis’ now-enshrined 1984 classic Romancing the Stone with Michael Douglas and Kathleen Turner (itself a bit of a skim of The African Queen starring Hepburn and Bogart, no first names required), The Lost City manages to make Zemeckis’ film feel dark and gritty in retrospect.
Along the way, the comedy parodies everything from “Raiders of the Lost Ark” to “The African Queen” and of course, the aforementioned “Stone” as Channing Tatum provides the bulk of comic relief as Fabio-like model Alan who graces the covers of Loretta’s novels dressed as Dash her handsome protagonist.
Boogie Nights (1997)
Directed by Paul Thomas Anderson
influenced by The Asphalt Jungle (1950)
Themes
If, as John Huston's "The Asphalt Jungle" memorably insisted, "crime is a left-handed form of human endeavor," Anderson has been shrewd enough to see pornography in the same relation to show business in general and Hollywood in particular, to show it attracting the same kinds of dreamers desperate to make something halfway meaningful out of their lives.
Bloody Nose, Empty Pockets (2020)
Directed by Bill Ross
influenced by The Misfits (1961)
Themes Music
A clip from A Night to Remember playfully salutes the downhill night to end all nights for The Roaring 20s, while a scene of Marilyn Monroe and Clark Gable in The Misfits poignantly evokes sympathy for characters marinating on the periphery of society.
The Rosses embellish their casually chaotic action with pointed jukebox tunes and TV movies (notably, 1961’s The Misfits ) without ever underlining anything.
Sorcerer (1977)
Directed by William Friedkin
influenced by The Treasure of the Sierra Madre (1948)
Plot Characters
Like many other American films of the 1970s, there's also a degree of film literacy and nostalgia, with nods not only to the original The Wages of Fear, but also to John Huston's 1948 film The Treasure of the Sierra Madre.
Comparisons to “The Treasure of the Sierra Madre” make sense in terms of the character dynamics, but it’s hard to see any of these characters as admirable anti-heroes.
But Scheider is extraordinary as a man whose desperation eventually turns to mania; there’s more than a shade of The Treasure Of The Sierra Madre’s Fred C. Dobbs in the way he screams “We’re sitting on double shares!” when he thinks the other truck has gotten permanently detoured.
While the characters Pratt and Howard portray are very much in the vein of The African Queen duo Katherine Hepburn and Humphrey Bogart (one pristine methodical, the other scruffy adventurer), when the dino-crap hits the fan they quickly resemble other iconic roles, with Bryce Dallas Howard channelling the likes of James Cameron’s female action heroines Ripley ( Aliens ) and Sarah Connor ( The Terminator ), while Chris Pratt does his best job auditioning for the Indiana Jones role which many have predicted he has secured.
The Great Wall (2016)
Directed by Zhang Yimou
influenced by The Man Who Would Be King (1975), Moby Dick (1956)
Plot Themes
The key structure of the story is that of Rudyard Kipling’s “The Man Who Would be King” which was the source of inspiration for various films, the most important of which is the book adaptation with the same name starring Sean Connery and Michael Caine in 1976, while the most recent noteworthy descendant was Avatar in 2009.
The movie is a pale cross between the uber buddy film based on the Rudyard Kipling story "The Man Who Would Be King" and any one of the "Lord of the Rings" movies.
Now he shoots arrows at the screen until we cower behind our popcorn, and assembles a show-stopper of an action sequence that mixes Moby Dick and The Mist, with Damon lost in a fog battling creatures he can't even see.
His character is partial to an audiobook of Moby Dick, constantly chasing what he may never get, and nearly every scene with Nolte in it is akin to Mickey Rourkeâ??s turn in The Wrestler, tapping into a sense of shame so potent that the result is heartbreaking more often than not.
He’s obsessed with righting old wrongs, which may be why he is absorbed by Captain Ahab’s pursuit of the elusive monster whale in “Moby Dick”; he listens to the audio version of the novel at every opportunity.
Warrior is narrated by the audiobook that Nolte’s character is constantly listening to, Moby Dick.
In classic narrative style, the patriarch, (Nick Nolte in a solid outing that begins with real promise—drinking coffee and reading John Steinbeck, quoting from Moby Dick no less—before he’s pushed back far beyond the ropes) is nearing his 1000th day of sobriety only to be offered a home-coming gift of scotch from his recently returned son, Tommy.
When “Warrior” begins with Nolte listening to the book-on-tape of “Moby Dick,” it is clear the kind of movie we’re in for.
The movie's script risks drawing its conflicts out too plainly: The brothers' contrasting training regimens (Brendan listens to Beethoven in a pristine gym, while Tommy is out in the muck) get a little too much emphasis, and viewers would understand the weight of Paddy's personal demons even if he weren't always listening to a "Moby Dick" audiobook.
A final comment for film buffs: I don't want to reveal the ending, but let's just say that it is an interesting commentary on changing values in well-made American crime movies in the past 65 years to compare what happens between Colin Farrell and Gong Li at the end of "Miami Vice" with how existential hero Humphrey Bogart treats Mary Astor at the end of "The Maltese Falcon."
Is Bridges going to reprise Bogey's Oscar-winning role of Charlie Allnut in a Coen Brothers' version of The African Queen?
“Besides, he blighted his title after sequelizing the original for which this picture is so named in an unwarranted and unwise attempt to remake The African Queen with Katharine Hepburn amidst cowboys rather than slugs.
Supposedly inspired by Homer's The Odyssey, it also borrows heavily from Moby Dick, Bonnie and Clyde, and The Wizard of Oz, as well as the Faulkneresque trappings of the Depression era South.