Very few filmmakers have the distinction of creating a classic on their first effort. But John Huston, one of the greatest screenwriters and directors of the 20th century, did just that in 1941 with “The Maltese Falcon” and went on to create many classics by inventing, reinventing and reinvigorating genres.
Huston was born on August 5, 1906, in Nevada, Missouri. His father was the great actor Walter Huston, and young John developed an interest in the stage at a young age watching his father perform in vaudeville. He was a sickly child with an enlarged heart and kidney ailments but eventually overcame that to drop out of school at the age of 14 to become a professional boxer.
As a young adult, Huston wrote and sold several short stories, and made his way to Hollywood when “talking pictures” created a demand for writers. He took a short hiatus from Hollywood after the car he was driving accidentally struck and killed a young actress. Even though he was cleared of wrongdoing, the incident affected him deeply.
When he returned to the film industry in 1937, he had decided that he wanted to direct the pictures he wrote. The great William Wyler was a mentor, and Huston struck a deal with Warner Bros. that he could direct a picture if the next one he penned was a success. His next script was “High Sierra,” which was a hit and made Humphrey Bogart a leading man. The studio chiefs kept their promise, allowing him to write and direct “The Maltese Falcon,” also with Bogart, who became one of his best friends and favorite actors, and cinema history was made.
Huston was a man of contrasts. He was a hard-living, hard-drinking gruff outdoorsman, who loved to hunt and loved women (he was married five times). But he also enjoyed art, and was an accomplished artist in his youth. One of his distinguishing traits as a director was his habit of sketching out scenes on paper beforehand, carefully framing his shots and characters; whereas most directors rely heavily on editing, Huston’s films needed very little because he was so precise during the shoot. He was very cerebral, and appreciated literature, which is evident in his dedication of bringing classic novels, such as “Moby Dick,” “The Red Badge of Courage” and “The Dead,’ to the big screen. As a result, his themes often involve some statement on the human condition or involved a man’s epic quest. Even in the days of the Production Code and the House Committee on Un-American Activities, the renegade filmmaker did not hesitate to confront subjects that questioned man’s morality, including greed, adultery, alcoholism, lust.
He was one of the first directors to film on locations outside of the U.S., which was very costly. Over his 60-year career, he garnered much critical acclaim, as well as nominations and awards. He received an impressive 15 Academy Award nominations, in directing, writing and acting, winning two for “The Treasure of the Sierra Madre.” At the age of 79, he became the oldest person to receive a directing nomination, for “The Dead” (1987). He is the only person to direct his parent (Walter Huston, for “The Treasure of the Sierra Madre”) and his child (Anjelica Huston for “Prizzi’s Honor”) to acting Oscars, and the family is the first to have three generations of Oscar winners. Walter and John were the first father and son to be nominated for Academy Awards in the same year (1942), and the first to win in the same year (1949). Huston directed a total of 15 actors to Oscar nominations, with four winning.
A heavy smoker for many years, he battled emphysema in his later years, often working from a wheelchair and hooked up to oxygen. On August 28,1987, he died from complications of the disease while shooting a cameo for his son Danny’s debut film “Mr. North.” A true maverick, often called the “Ernest Hemingway of the cinema,” John Huston left a legacy of classic films that will be studied, imitated, and beloved for generations.
Take a tour in our photo gallery above featuring his 15 greatest films as director or actor, ranked worst to best.
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15. ANNIE (1981)
Admittedly, this film is considered by many to be one of Huston’s worse films. It received mixed reviews at the time of its opening, and many considered the macho Huston to be an odd choice (because he was) to direct a musical that centered around a little orphaned girl and her search for her real parents after being taken in by millionaire Daddy Warbucks. However, for a generation of girls, “Annie” is a much-loved musical, produced at a time when Broadway-esque musicals seemed to be a thing of the past. With a cast that includes Albert Finney as Daddy Warbucks, Carol Burnett as Miss Hannigan and Bernadette Peters and Tim Curry as Lily and Rooster, “Annie” is purely a guilty pleasure. Burnett and Aileen Quinn (Annie) both received Golden Globe nominations, and the film received two Oscar nominations. And for those who don’t like it, well, the sun will come out tomorrow. . .
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14. HEAVEN KNOWS, MR. ALLISON (1957)
In the South Pacific during WWII, U.S. Marine Corporal Allison (Robert Mitchum) finds himself stranded on an island with Sister Angela (Deborah Kerr), who has not yet taken her vows. They are forced to hide when the Japanese land on the island, and form a close relationship, with conflicts forming as she is determined to stay true to her vows. Made when the Production Code was still in effect and heavily monitored by the National Legion of Decency, Huston managed to convey the taboo attraction between the two opposite characters, and the temptation and struggle felt by Sister Angela, leading to Academy Award and Golden Globe Best Actress nominations for Kerr. Huston also received a shared screenplay nomination from the Academy.
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13. MOBY DICK (1956)
Huston received much recognition for his direction of the acclaimed Herman Melville novel, including a Directors Guild nomination, National Board of Review and New York Film Critics Circle Best Director wins and a shared writing nomination (with Ray Bradbury) from the New York Film Critics Circle. The story of Captain Ahab’s (Gregory Peck) obsession with the great whale was a project Huston had planned for many years, and was just the sort of man-on-an-epic-quest story he was well-suited for. Although the Academy shunned the film and it did not do well at the box office, it is now viewed as a great epic with special effects superior for its time.
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12. THE DEAD (1987)
Adapted from a short story by James Joyce, “The Dead” takes place in Dublin at an annual dinner party hosted by spinster sisters. During the course of the evening, their nephew Gabriel (Donal McCann) learns of a past tragic love of his wife Gretta (Anjelica Huston), leading to an epiphany about life and living as opposed to just existing. The haunting, sweet story is completely different from anything he had ever done, and was very personal as he shared his love of Ireland and literary works. Huston was 80 years old, in a wheelchair and dependent on oxygen, and this proved to be his last film. “The Dead” was released to great critical acclaim a few months after his death. It garnered two Oscar nominations, one of which went to his son Tony Huston for the screenplay. Roger Ebert placed it on his list of greatest movies ever made. It is quite eloquent that a director largely known for robust, manly films, ended his career with a haunting tale of love and morality.
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11. PRIZZI’S HONOR (1985)
37 years after directing his father to an Oscar win, Huston directed daughter Anjelica to an Academy Award for Best Supporting Actress in this comedy-drama about a mob hitman (Jack Nicholson) who falls in love with a hit woman (Kathleen Turner). Complicating matters is the mob daughter (Anjelica), who is the ex-lover of the hitman and still in love with him. The film proved to be a sleeper hit, staying in theaters much longer than studio expectations, and received several award nominations. At the age of 79, Huston became the oldest person to receive an Academy Award nomination for Best Director, a record that holds today; he also received a nomination from the Directors Guild of America and won the Golden Globe for Best Director of a Comedy or Musical. In total, “Prizzi’s” received six Golden Globe nominations, winning for Best Musical or Comedy, and eight Oscar nominations.
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10. FAT CITY (1972)
Aging boxer Billy Tully (Stacy Keach) is inspired by young promising boxer Ernie Munger (Jeff Bridges, in one of his first film roles) to enter the ring again. However, his return to that world is not very successful, and his excessive drinking, inability to hold a steady job and unhealthy relationship with alcoholic Oma (Susan Tyrell, who received a Best Supporting Actress nomination) add to his woes. With its film noir vibe, “Fat City” is considered to be one of the most realistic portrayals of the gritty world of boxing. After a string of box office and critical flops in the 1960s, Huston rebounded with this gem – Roger Ebert claimed it was one of Huston’s best films – and was once again an in-demand director.
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9. THE NIGHT OF THE IGUANA (1964)
Reverend Dr. T. Lawrence Shannon (Richard Burton) was ousted by his church when he was accused of inappropriate behavior with a very young Sunday school teacher. He now drives a tour bus, and is taking a group of Baptist school teachers to Mexico. He is soon tempted by drink and by the Lolita-like niece Charlotte (Sue Lyon) of one of the prudish teachers (Grayson Hall); he strands the bus at a hotel that he thinks doesn’t have a phone to keep the teacher from calling his boss. Shannon continues to battle his temptation with drink and the troublemaking Charlotte, and finds comfort from a fellow traveler, Hannah (Deborah Kerr). Based on a Tennessee Williams play, this is a moody character study that Huston does so well. It is credited with turning Puerto Vallarta, Mexico, into a top resort destination, with Huston liking the area so well he bought a house there. Burton also attracted a lot of attention to the area as he brought Elizabeth Taylor along to the shoot – at a time when they were both married to other people. Huston was nominated for Golden Globe and Directors Guild of America awards for his direction; the film received four Academy Award nominations, winning for Costume Design, Black and White.
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8. THE MISFITS (1961)
A box office flop at the time, “The Misfits” has gained legendary status for a few reasons. It is the last completed film of two screen icons, Clark Gable and Marilyn Monroe, and one of the last for Montgomery Clift. It marks the only original screenplay by Arthur Miller, whose marriage to Monroe at the time was falling apart. It’s a sad, dark tale surrounding a new divorcee (Monroe), her friendship with her landlady (Thelma Ritter), and her relationships with an older divorced cowboy (Gable), his widowed friend (Eli Wallach) and a rodeo cowboy (Clift). Despite its failure at the box office, critics at the time praised the performance of all the actors. Today, it is appreciated as a study of human emotion and relationships, and the performance by each of these actors is considered some of their best work.
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7. CHINATOWN (1974)
Director Roman Polanski’s film noir masterpiece takes place around the disputes over California water in the early part of the 20th century. Jack Nicholson stars as Jake Gittes, a private detective who gets caught up in murder, corruption and family secrets when he’s hired by a woman who suspects her husband is having an affair. Huston plays the amoral and corrupt land baron Noah Cross, whose daughter Evelyn (Faye Dunaway) is deathly afraid of him. Huston is in only three scenes, but his gravelly voice and gentlemanly demeanor that contrasts with his cruel actions commands each scene. It is fitting that the man who practically invented film noir made such a memorable impression as an actor in one of the best examples of that genre. “Chinatown” received 11 Academy Award nominations, winning just one for writing, but it it now considered a classic.
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6. THE ASPHALT JUNGLE (1950)
Not only is Huston credited with the first film noir with “The Maltese Falcon,” he created a sub-genre with this gritty heist film. A famous criminal mastermind is released from prison, and immediately plans to rob a jewelry store. He assembles a crew and the heist goes off perfectly; however, a series of mishaps and double-crosses causes the perfect crime to fall apart. During the era of the Production Code, criminals could not be seen in a sympathetic light; “The Asphalt Jungle” is one of the first films to show the crime solely from the viewpoint of the criminals. With his artist’s eye, Huston sets up shots to show each individual’s role in the heist and their difficulties, including a remarkably detailed 11-minute heist sequence. The film received much critical praise, and Huston received Academy Award and Golden Globe nominations, for directing and writing (shared with Ben Maddow), as well as nominations from the Directors Guild of America and the Writers Guild of America. The film is also notable as one of Marilyn Monroe’s first significant roles, and she received very favorable reviews.
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5. THE MAN WHO WOULD BE KING (1975)
Huston had been wanting to make an adaptation of the Rudyard Kipling novella since the 1950s, and various actors had been considered for the leads over the years. Huston made it worth the wait, with Sean Connery and Michael Caine being the final choices for the leads. Two former British soldiers, Daniel Dravot (Connery) and Peachy Carnehan (Michael Caine), seek adventure in 1800s India, ending up in Kafiristan, where Dravot is mistaken for a god. The film was a commercial and critical success, and Huston’s most acclaimed film of the 1970s. Caine and Connery have wonderful chemistry, and both cite it as one of their favorite films. It is a wonderful old-school epic adventure, and an enjoyable watch. It received four Oscar nominations, including Best Writing for Huston (shared with Gladys Hill).
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4. KEY LARGO (1948)
Huston added a twist to the genre he practically invented. Instead of the usual dark alleys and seedy apartments, this film noir takes place in the sultry Florida Keys. Frank McCloud (Humphrey Bogart) visits the wheelchair-bound father (Lionel Barrymore) and widow (Lauren Bacall) of a war buddy killed in action. They manage a rundown hotel on Key Largo, and McCloud discovers they’ve been unwittingly taken over by well-known mobster Johnny Rocco (Edward G. Robinson) and his gang. Tension builds as they are held prisoners while a hurricane fast approaches, and McCloud, disillusioned by the war, must overcome his apathy to save the day. This movie marked the fourth collaboration between Huston and Bogart, and was Bogart and Bacall’s fourth and final film together (in my opinion, their best). With its superior cast, “Key Largo” is considered one of the best film noirs of the era, and earned Claire Trevor a Best Supporting Actress Oscar for her portrayal of Rocco’s abused moll. Huston and cowriter Richard Brooks received a nomination from the Writers Guild of America.
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3. THE AFRICAN QUEEN (1951)
One of my personal all time favorite movies, “The African Queen” is a nearly perfect romantic adventure film. In their only onscreen pairing, legendary stars Humphrey Bogart and Katharine Hepburn have palpable chemistry as the rough gin-drinking Charlie Allnutt and the prim and proper Rose Sayer. At the start of World War I, Rose is a missionary who has to escape her African village by way of “The African Queen” boat, helmed by Charlie, who has been delivering supplies to her mission. By the time it’s all over, Rose has convinced Charlie to try to sink an enemy warship. The production of the film is almost as famous as the finished product, as Bogart brought along his wife Lauren Bacall; in a rare move at the time, it was partly filmed on location in poor and dangerous conditions in Africa; many in the cast and crew got sick; and Hepburn was annoyed by Huston and Bogart’s drinking, later writing a memoir about the experience. Regardless of any difficulties, Huston delivered almost two hours packed with witty dialogue, sexual tension and suspense. Bogart finally won his long-deserved Oscar for Best Actor; Hepburn also received a nomination, and Huston received nominations for directing and writing (shared with James Agee).
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2. THE TREASURE OF THE SIERRA MADRE (1948)
His most awarded film, “The Treasure of the Sierra Madre” brought Huston Academy Awards for Best Director and Best Screenplay and a Golden Globe for Best Director, as well as other awards. He also directed his father Walter to Best Supporting Actor wins at the Academy Awards and Golden Globe ceremonies. Filmed in Mexico (one of the first movies shot outside the U.S.), “Treasure” revolves around Fred C. Dobbs (Humphrey Bogart) and Bob Curtin (Tim Holt) as they join forces with old prospector Howard (Walter Huston) to find gold deep in Mexico. As they find good fortune, they also must fight bandits and their own greed and growing distrust of one another. It is a shame that Bogart went unrewarded; his slow descent into insanity due to his paranoia is one of his most memorable performances. It was one of the first 100 films selected for the National Film Registry, and ranks high on many “best films” lists. Many directors, including Stanley Kubrick, Sam Raimi and Paul Thomas Anderson, have cited this film as one of their biggest influences.
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1. THE MALTESE FALCON (1941)
Arguably, any of the top three films on this list could land in this spot. “The Maltese Falcon” seems to have maintained the largest following, and is considered essential viewing by any true film buff. Huston’s good friend and favorite actor, Humphrey Bogart, brings to life Dashiell Hammett’s private eye Sam Spade, who finds himself caught up with a cast of characters intent on obtaining the famed jewel-encrusted statuette. Huston’s faithfulness to the novel, attention to detail and superior cast made this low-budget film a huge critical and box office success, and is considered to be the first true “film noir.” It has been preserved in the National Film Registry, and ranks on most critics “must see” and “greatest movies ever made” lists. It’s an oft-quoted film, with this being one of Bogie’s signature roles. It received three Academy Award nominations, including Best Writing for Huston, Best Picture and Best Supporting Actor for the great Sydney Greenstreet in his motion picture debut. In his first directorial effort, Huston truly shows us “the stuff that dreams are made of.”
Great piece on Huston! His film craft truly sets him apart in cinematic history. I’m curious—how do you think Huston’s approach influenced modern directors? Was his style reflective primarily of his era, or do you see aspects of it in contemporary films too? Looking forward to more insights!