SYNOPSIS

The pursuit of gold in the hills of Mexico prompts these Americans to band together: two hard-luck cases, Dobbs (Humphrey Bogart) and Curtin (Tim Holt), and a sage old-timer, Howard (Walter Huston). As their dreams start to materialize, human nature begins to tear the men apart.

Director: John Huston
Producer: Henry Blanke
Screenplay: John Huston, B. Traven (novel)
Cinematography: Ted D. McCord
Music: Max Steiner
Cast: Humphrey Bogart (Fred C. Dobbs), Walter Huston (Howard), Tim Holt (Bob Curtin), Bruce Bennett (James Cody), Barton MacLane (Pat McCormick), Alfonso Bedoya (Gold Hat), Arturo Soto Rangel (El Presidente), Manuel Donde (El Jefe), Robert Blake (Mexican boy), Ann Sheridan (Streetwalker).
BW-127m. Closed captioning. Descriptive Video.

Why The Treasure of the Sierra Madre is Essential

Many critics consider The Treasure of the Sierra Madre, released in 1948, to be director John Huston's finest cinematic offering, a gritty depiction of the cancerous effects of gold lust upon a man's soul. Yet there are countless films that deal with the subject matter of money and greed and the deadly combination the two can create. What makes this film stand out is the artistry behind the movie. From the direction of Huston, to the performances of Humphrey Bogart and Huston's father, Walter, to the stellar camera work of Ted McCord, The Treasure of the Sierra Madre achieves an uncompromising look into the dark side of human nature.

John Huston first read the novel by B.Traven in 1936, and thought it would make a good film. He would have to wait ten years, however, due to World War II, but Warner's held the project for him at the insistence of producer Henry Blanke. The Treasure of the Sierra Madre became one of the first American films to be shot entirely on location, around the village of Jungapeo, Mexico. Several films by Robert Flaherty and F.W. Murnau had been made abroad for American studios, but they were documentaries and were brought to companies only after they were filmed. Huston's film was also expensive; the ever-growing budget topped out at three million, much to the consternation of Jack Warner. Insistent upon perfection, Huston plowed through his budget and slipped further behind schedule, prompting the first argument between the director and Bogart, now on their fourth collaboration. During this spat, Bogart, eager to wrap the film in order to attend a boat race in Honolulu, complained yet again to Huston. In response, Huston reached across the table, grabbed Bogart's nose between his two fingers and twisted hard. Tears came to the actor's eyes, but not one word was spoken, and Bogart never complained about the film schedule again. Huston knew he had a masterpiece on his hands and he would not be rushed.

Bogart, in what many consider his greatest performance, gets an opportunity to shed his suave leading man image created seven years prior in The Maltese Falcon (1941). His character undergoes a moral metamorphosis¿from a congenial, average guy to a murderous monster gripped by paranoia. The elder Huston, having been a matinee idol for the last twenty years, was unsure of his ability to play the crusty prospector. It took heavy prodding by his son and the removal of his false teeth to produce the character for which Huston would capture the Best Supporting Actor Oscar® of 1948. His son also collected Best Director and Best Screenplay Oscars®, making it the only time in Academy history for son and father to win in the same year. Plus, it achieves film history with the immortal quote by Gold Hat, "Badges? I don't have to show you any stinkin' badges!" Movies just don't get any better.

by Scott McGee & Eleanor Quin