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John Marcellus Huston (/ˈhjuːstən/; August 5, 1906 – August 28, 1987) was an American-Irish film director, screenwriter and actor.[3] He wrote the screenplays for most of the 37 feature films he directed, many of which are today considered classics: The Maltese Falcon (1941), The Treasure of the Sierra Madre (1948), The Asphalt Jungle (1950), The African Queen (1951), The Misfits (1961), Fat City (1972) and The Man Who Would Be King (1975). During his 46-year career, Huston received 15 Oscar nominations, won twice, and directed both his father, Walter Huston, and daughter, Anjelica Huston, to Oscar wins in different films. Huston was known to direct with the vision of an artist, having studied and worked as a fine art painter in Paris in his early years. He continued to explore the visual aspects of his films throughout his career: sketching each scene on paper beforehand, then carefully framing his characters during the shooting. While most directors rely on post-production editing to shape their final work, Huston instead created his films while they were being shot, making them both more economical and cerebral, with little editing needed. Most of Huston's films were adaptations of important novels, often depicting a "heroic quest," as in Moby Dick, or The Red Badge of Courage. In many films, different groups of people, while struggling toward a common goal, would become doomed, forming "destructive alliances," giving the films a dramatic and visual tension. Many of his films involved themes such as religion, meaning, truth, freedom, psychology, colonialism and war. Before becoming a Hollywood filmmaker, he had been an amateur boxer, reporter, short-story writer, portrait artist in Paris, a cavalry rider in Mexico, and a documentary filmmaker during World War II. Huston has been referred to as "a titan", "a rebel", and a "renaissance man" in the Hollywood film industry. Author Ian Freer describes him as "cinema's Ernest Hemingway"—a filmmaker who was "never afraid to tackle tough issues head on."[4]

Contents

1 Early life 2 Early career as writer 3 Screenwriter and director

3.1 The Maltese Falcon (1941) 3.2 Army years during World War II 3.3 The Treasure of the Sierra Madre (1948) 3.4 The Asphalt Jungle
The Asphalt Jungle
(1950) 3.5 The Red Badge of Courage (1951) 3.6 The African Queen (1951) 3.7 House Committee on Un-American Activities
House Committee on Un-American Activities
period 3.8 Moby Dick (1956) 3.9 The Misfits (1961) 3.10 Freud: the Secret Passion (1962) 3.11 The Night of the Iguana (1964) 3.12 The Bible: In the Beginning (1966) 3.13 Involvement with the Irish Film Industry 3.14 Fat City (1972) 3.15 The Man Who Would Be King (1975) 3.16 Wise Blood (1979) 3.17 Under the Volcano (1984) 3.18 The Dead (1987)

4 As an actor 5 Movie themes 6 Directing techniques 7 Awards and honors 8 Personal life and death 9 Archives 10 Filmography

10.1 Director 10.2 Screenwriter 10.3 Actor

11 References 12 External links

Early life[edit] John Huston
John Huston
was born on August 5, 1906, in Nevada, Missouri. He was the only child of Rhea[5] (née Gore) and Canadian-born Walter Huston, originally Walter Houghston. His father was an actor, initially in vaudeville, and later in films. His mother initially worked as a sports editor for various publications but gave it up after Huston was born. Similarly, his father gave up his stage acting career for steady employment as a civil engineer, although he returned to stage acting within a few years. He would later become highly successful on both Broadway and then in motion pictures. He had Scottish, Scotch-Irish, English and Welsh ancestry. Huston's parents divorced in 1913, when he was 6, and as a result much of his childhood was spent living in boarding schools. During summer vacations, he traveled with each of his parents separately — with his father on vaudeville tours, and with his mother to racetracks or other sports events. The young Huston benefited greatly from seeing his father act on stage, as he was later drawn to the world of acting.[2] Some critics, such as Lawrence Grobel, surmise that his relationship with his mother may have been the cause of his five marriages, and why few of his relationships lasted. Grobel wrote, "When I interviewed some of the women who had loved him, they inevitably referred to his mother as the key to unlocking Huston's psyche."[6] According to actress Olivia de Havilland, "she [his mother] was the central character. I always felt that John was ridden by witches. He seemed pursued by something destructive. If it wasn't his mother, it was his idea of his mother."[6] As a child he was often ill and was treated for an enlarged heart and kidney ailments. He recovered after an extended bedridden stay in Arizona, and moved with his mother to Los Angeles, where he went to Abraham Lincoln High School. He dropped out of high school after two years to become a professional boxer, and by age 15 was already a top-ranking amateur lightweight boxer in California. He ended his brief boxing career after suffering a broken nose.[2] He also "plunged" himself into a multitude of interests, including abstract painting, ballet, English and French literature, opera, and horseback riding. Living in Los Angeles he became "infatuated" with the new film industry and motion pictures, but as a spectator only. To Huston, " Charlie Chaplin
Charlie Chaplin
was a god."[7] He moved back to New York to live with his father, who was then acting in off-Broadway productions, and John had a few small roles.[8] He remembers, while watching his father rehearse, being fascinated with the mechanics of acting:

What I learned there, during those weeks of rehearsal, would serve me for the rest of my life.[7]

After a short period acting on stage, and having undergone surgery, he traveled on his own to Mexico. During his two years there, among his other adventures, he got a position riding as an honorary member of the Mexican cavalry. He returned to Los Angeles and married a girlfriend from high school, Dorothy Harvey. Their marriage lasted seven years, (1926–1933). Early career as writer[edit] During his stay in Mexico, he wrote a play called "Frankie and Johnny", based on the ballad of the same title. After selling it easily, he decided that writing would be a viable career, and he focused on it. His self-esteem was enhanced when H. L. Mencken, editor of the popular magazine, American Mercury, bought two of his stories, "Fool" and "Figures of Fighting Men." During subsequent years his stories and feature articles were published in Esquire, Theatre Arts, and The New York Times. He also worked for a period on the New York Graphic. In 1931, when he was 25, he moved back to Los Angeles with his hopes aimed at writing for the blossoming film industry, where the silent film industry had given way to "talkies", and writers were in demand.[8] In addition, his father had earlier moved there where he was already successful in a number of films. He received a script editing contract with Samuel Goldwyn Productions, but after six months of receiving no assignments, quit to work for Universal Studios, where his father was by then a star. At Universal, he got a job in the script department, and began by writing dialogue for a number of films in 1932, including Murders in the Rue Morgue, A House Divided, and Law and Order. The last two also starred his father, Walter Huston. In addition, House Divided was directed by William Wyler, who gave Huston his first real "inside view" of the filmmaking process during all stages of production. Wyler and Huston would also later become close friends and collaborators on a number of leading films.[8] Huston gained a reputation as a "lusty, hard-drinking libertine" during his first years as a writer in Hollywood.[2] Huston describes those years as a "series of misadventures and disappointments", however. His brief career as a Hollywood writer ended suddenly after a car he was driving struck and killed actress Tosca Roulien, wife of actor Raul Roulien. There is a rumor that it was actually Clark Gable that was actually to blame for the hit and run but MGM General Manager, Eddie Mannix, paid Houston to take the blame.[9] He was absolved of blame by a coroner's jury, but the incident left him "traumatized" nonetheless, and he moved to London and Paris, living as a "drifter."[2] By 1937, after five years, the 31-year-old Huston returned to Hollywood intent on being a "serious writer." He also married Lesley Black. His first job was as scriptwriter with Warner Brothers Studio, with his personal longterm goal of directing his own scripts. For the next four years, he co-wrote scripts for major films such as Jezebel, The Amazing Dr. Clitterhouse, Juarez, Dr. Ehrlich's Magic Bullet
Dr. Ehrlich's Magic Bullet
and Sergeant York (1941).[2] He was nominated for an Academy Award
Academy Award
for his writing both Ehrlich and Sergeant York. Huston writes that Sergeant York, which was directed by Howard Hawks, has "gone down as one of Howard's best pictures, and Gary Cooper
Gary Cooper
had a triumph playing the young mountaineer."[10]:77 Huston was becoming a recognized and respected screenwriter. He was able to persuade Warners to give him a chance to direct, under the condition that his next script also became a hit. Huston writes:

They indulged me rather. They liked my work as a writer and they wanted to keep me on. If I wanted to direct, why, they'd give me a shot at it, and if it didn't come off all that well, they wouldn't be too disappointed as it was to be a very small picture.[7]

The next script he was given to work on was High Sierra (1941), to be directed by Raoul Walsh. The film became the hit Huston wanted. It also made Humphrey Bogart
Humphrey Bogart
a star with his first major role, as a gunman on the run. Warners kept their end of the bargain, and gave Huston his choice of subject.[7] Screenwriter and director[edit] The Maltese Falcon (1941)[edit] For his first directing assignment, Huston chose Dashiell Hammett's detective thriller, The Maltese Falcon, a film which had already failed at the box office in two earlier versions by Warners. However, studio head Jack L. Warner
Jack L. Warner
approved of Huston's treatment of Hammett's 1930 novel, as he stood by his word to let Huston choose his first subject.[7] Huston kept the screenplay close to the novel, keeping much of Hammett's dialogue, and directing it in an uncluttered style, much like the book's narrative. He also did the unusual preparation for this, his first directing job, by sketching out each shot beforehand, including camera positions, lighting, and compositional scale, for such things as closeups.[8] He especially benefited by selecting a superior cast, giving Humphrey Bogart the lead role. Bogart was happy to take the role, as he liked working with Huston. In addition, the supporting cast included other noted actors: Mary Astor, Peter Lorre, Sydney Greenstreet
Sydney Greenstreet
(his first film role), and his own father, Walter Huston. The film, however, was given only a small B-movie budget, and received minimal publicity by Warners, as they had low expectations.[7] The entire film was made in eight weeks for only $300,000.[2] Upon receiving immediate enthusiastic response by the public and critics, Warners was surprised. Critics hailed the film as a "classic", and up until the present day it is claimed by many to be the "best detective melodrama ever made."[7] Herald Tribune critic Howard Barnes called it a "triumph."[7] Huston again received an Academy Award
Academy Award
nomination for the screenplay. After this film, Huston would from then on direct all of his screenplays, except for one, Three Strangers (1946).[8] In 1942, he directed two more hits, In This Our Life (1942), starring Bette Davis, and Across the Pacific, another thriller starring Humphrey Bogart. Army years during World War II[edit]

Play media

The Battle of San Pietro (1944)

In 1942 he served in the United States Army
United States Army
during World War II
World War II
to make films for the Army Signal Corps. While in uniform with the rank of captain, he directed and produced three films that some critics rank as "among the finest made about World War II: Report from the Aleutians (1943), about soldiers preparing for combat; The Battle of San Pietro (1945), the story (censored by the Army) of a failure by America's intelligence agencies which resulted in many deaths, and Let There Be Light (1946), about psychologically damaged veterans, also censored for 35 years, until 1981.[2] He rose to the rank of major and received the Legion of Merit
Legion of Merit
award for "courageous work under battle conditions."[2] Nonetheless, all of his films made for the Army were "controversial", and either not released, censored, or banned outright, as they were considered "demoralizing" to soldiers and the public.[8] Years later, after moving to Ireland, his daughter, actress Anjelica Huston, recalled that the "main movies we watched were the war documentaries."[11]:10 Huston did an uncredited rewrite of Anthony Veiller's screenplay for The Stranger (1946), a film he was to have directed. When Huston became unavailable Orson Welles
Orson Welles
was offered the opportunity to direct. He had been cast in the role of a high-ranking Nazi fugitive who manages to settle in New England under an assumed name.[12] The Treasure of the Sierra Madre (1948)[edit] His next picture, which he wrote, directed, and briefly appeared in as an American, asked to "help out a fellow American, down on his luck", was The Treasure of the Sierra Madre (1948). It would become one of the films which established his reputation as a leading filmmaker. The film, also starring Humphrey Bogart, was the story of three drifters who band together to prospect for gold. Huston also gave a supporting role to his father, Walter Huston. Warners studio was initially uncertain what to make of the film. They had allowed Huston to film on location in Mexico, which was a "radical move" for a studio at the time. They also knew that Huston was gaining a reputation as "one of the wild men of Hollywood." In any case, studio boss Jack L. Warner
Jack L. Warner
initially "detested it." But whatever doubts Warners had were soon removed, as the film achieved widespread public and critical acclaim. Hollywood writer James Agee
James Agee
called it "one of the most beautiful and visually alive movies I have ever seen."[7] Time magazine described it as "one of the best things Hollywood has done since it learned to talk."[7] Huston won Oscars for Best Director and Best Adapted Screenplay; his father won for Best Supporting Actor. It also won other awards in the U.S. and overseas. Film Comment
Film Comment
magazine devoted four pages to the film in its May–June 1980 edition, with author Richard T. Jameson offering his impressions:

This film has impressed itself on the heart and mind and soul of anyone who has seen it, to the extent that filmmakers of great originality and distinctiveness like Robert Altman
Robert Altman
and Sam Peckinpah can be said to have remade it again and again ... without compromising its uniqueness.[7]

Also in 1948 he directed his next film, Key Largo, again with Humphrey Bogart starring. It was the story about a disillusioned returning veteran clashing with gangsters on a remote Florida key. It co-starred Lauren Bacall, Claire Trevor, Edward G. Robinson, and Lionel Barrymore. The film was an adaptation of the stage play by Maxwell Anderson, and the film itself seemed overly stage-bound for many viewers. However, the "outstanding performances" by all the actors saved the film, and Claire Trevor
Claire Trevor
won an Oscar for best supporting actress.[7] Huston was annoyed that the studio cut several scenes from the final release without his agreement. That, along with some earlier disputes, angered Huston enough that he left the studio when his contract expired.[7] The Asphalt Jungle
The Asphalt Jungle
(1950)[edit] In 1950 he wrote and directed The Asphalt Jungle, a film which broke new ground by depicting criminals as somewhat sympathetic characters, simply doing their professional work, "an occupation like any other",[8] or what Huston calls "a left-handed form of human endeavor."[10]:177 Huston achieved that effect by giving "deep attention" to the plot, involving a large jewelry theft, by examining the minute, step by step details and difficulties each of the characters had of carrying it out. In doing so, some critics felt that Huston had achieved an almost "documentary" style.[8] His assistant director Albert Band
Albert Band
explains further:

I'll never forget it. We got on that set and he composed a shot in which ten elements were working all at the same time. Took half a day to do it, but it was fantastic. He knew exactly how to shoot a picture. His shots were all painted on the spot...He had a great eye and he never lost his sense of composition.[13]:335

Film critic Andrew Sarris considered it to be "Huston's best film", and the film that made Marilyn Monroe
Marilyn Monroe
a recognized actress. Sarris also notes the similar themes in many of Huston's films, as exemplified by this one: "His protagonists almost invariably fail at what they set out to do."[14] This theme was also similar to the story in Treasure of the Sierra Madre, where greed became the cause of the group's undoing. It starred Sterling Hayden
Sterling Hayden
and Huston's personal friend, Sam Jaffe. It also became the first serious role for Marilyn Monroe, according to Huston: "it was, of course, where Marilyn Monroe
Marilyn Monroe
got her start."[10]:177 Monroe said Huston was the first genius she had ever met; and he made her feel that she finally had a chance of becoming a professional actress:[13]:336

Even though my part was a minor one, I felt as if I were the most important performer in the picture—when I was before the camera. This was because everything I did was important to the director.[13]:336

The film succeeded at the box office and Huston was again nominated for an Oscar for best screenplay and best director, along with winning the Screen Directors Guild
Screen Directors Guild
Award.[7] It would subsequently become a model for many similar movies by other filmmakers. The Red Badge of Courage (1951)[edit] After completing The Asphalt Jungle, Huston's next film, The Red Badge of Courage (1951), was of a completely different subject: war and its effect on soldiers. While in the army during World War II, he became interested in Stephen Crane's classic American Civil War
American Civil War
novel of the same title. For the starring role, Huston chose World War II
World War II
hero Audie Murphy
Audie Murphy
to play the young Union soldier who deserts his company out of fear, but later returns to fight alongside them. MGM, however, saw the message of the movie as too antiwar. Without Huston's input, they cut down the running time of the film from eighty-eight minutes to sixty-nine, added narration, and deleted what Huston felt was a crucial scene.[8] The movie did poorly at the box office. Huston suggests that it was possibly because it "brought war very close to home."[15] Huston recalls that at the preview showing, before the film was halfway through, "damn near a third of the audience got up and walked out of the theater."[15] Despite the "butchering" and weak public response, film historian Michael Barson describes the movie as "a minor masterpiece."[16] The African Queen (1951)[edit]

Humphrey Bogart
Humphrey Bogart
in The African Queen (1951)

Before the Asphalt Jungle opened in theaters, Huston was already in Africa shooting The African Queen (1951), a story based on C. S. Forester's popular novel. It starred Humphrey Bogart
Humphrey Bogart
and Katharine Hepburn in a combination of romance, comedy and adventure. Barson calls it "one of the most popular Hollywood movies of all time."[16] The film's producer, Sam Spiegel, urged Huston to change the ending to allow the protagonists to survive, instead of dying. Huston agreed, and the ending was rewritten. It became Huston's most successful film financially, and "it remains one of his finest works."[8] Huston was nominated for two Academy Awards—Best Director and Best Adapted Screenplay. Bogart, meanwhile, won his only Oscar for Best Actor for his role as Charlie Allnut. Hepburn wrote about her experiences shooting the film in her memoir, The Making of the African Queen: Or How I went to Africa with Bogart, Bacall, and Huston and almost lost my mind.[17] Clint Eastwood
Clint Eastwood
directed and starred in the film White Hunter, Black Heart, based on Peter Viertel's novel of the same name, which tells a fictional version of the making of the film.[18] House Committee on Un-American Activities
House Committee on Un-American Activities
period[edit] In 1952 Huston moved to Ireland as a result of his "disgust" at the "witch-hunt" and the "moral rot" he felt was created by House Committee on Un-American Activities (HUAC), which had affected many of his friends in the movie industry. Huston had, with friends including director William Wyler
William Wyler
and screenwriter Philip Dunne, established the "Committee for the First Amendment", as a response to the ongoing government investigations into communists within the film industry. The HUAC was calling numerous filmmakers, screenwriters, and actors to testify about any past affiliations.[16] He tries to describe in general the types of people who were alleged communists:

"The people who did get caught up in it were, for the most part, well-intentioned boobs from a poor background. A number of them had come from the Lower East Side of Manhattan, and out in Hollywood, they sort of felt guilty for living the good life. Their social conscience was more acute than the next fellow's."[19]

Moby Dick (1956)[edit] Huston took producing, writing, and directing credits for his next two films: Moulin Rouge (1952); and Beat the Devil (1953). Moby Dick (1956), however, was written by Ray Bradbury, although Huston had his name added to the screenplay credit after the completion of the project. Although Huston had personally hired Bradbury to adapt Herman Melville's novel into a screenplay, Bradbury and Huston did not get along during pre-production, and Bradbury later dramatized their relationship in the short story "Banshee"; Peter O'Toole
Peter O'Toole
would later play the role based on John Huston
John Huston
when "Banshee" was adapted into an episode of The Ray Bradbury
Ray Bradbury
Theater.[20] Bradbury wrote more poems, essays, and stories on his time in Ireland, but was reluctant to write a book because he did not want to gossip about Huston. It was not until after he read Katharine Hepburn’s memoir The Making of the African Queen: Or How I went to Africa with Bogart, Bacall, and Huston and almost lost my mind that he decided that he could write “a book which is fair, which presents the Huston that I loved along with the one that I began to fear on occasion.” He published Green Shadows, White Whale, a novelization of his time in Ireland with Huston, almost 40 years after he wrote the screenplay for Moby Dick.[21] Huston had been planning to film Herman Melville's Moby-Dick
Moby-Dick
for the previous ten years, and originally saw it as an excellent part for his father, Walter Huston. However, his father died in 1950, and he chose Gregory Peck
Gregory Peck
to play the starring role of Captain Ahab. The movie was filmed over a three-year period on location in Ireland, where Huston was then living. The fishing village of New Bedford, Massachusetts
New Bedford, Massachusetts
was recreated along the waterfront; the sailing ship in the film was fully constructed to be seaworthy; and three 100-foot whales were built out of steel, wood, and plastic. However, the film failed at the box office, with some critics, like David Robinson, suggesting that the movie lacked the "mysticism of the book" and thereby "loses its significance."[7] The Misfits (1961)[edit]

Of his next five films, only The Misfits (1961), found critical approval.[4] However, critics have noted the "retrospective atmosphere of doom" which now hangs over the film. Clark Gable, the star, died of a heart attack a few days after the filming was completed; Marilyn Monroe never did another film and died a year later; and costars Montgomery Clift
Montgomery Clift
and Thelma Ritter
Thelma Ritter
also died over the next few years. During the filming itself, Monroe was often on drugs of various kinds, which led to her arriving late on the set and often forgetting her lines. Monroe's problems also led to the breakup of her marriage to the film's scriptwriter, Arthur Miller, "virtually on set."[7] Miller dramatized the making of The Misfits in his final play, Finishing the Picture, where Huston is represented as the director.[22] Huston later commented about this period in her career: "Marilyn was on her way out. Not only of the picture, but of life."[15] Freud: the Secret Passion (1962)[edit] He followed The Misfits with Freud: The Secret Passion, a film quite different from most of his others. Besides directing, he also narrates portions of the story. Film historian Stuart M. Kaminsky notes that Huston presents Sigmund Freud, played by Montgomery Clift, "as a kind of savior and messiah", with an "almost Biblical detachment." As the film begins, Huston describes Freud
Freud
as a "kind of hero or God on a quest for mankind":[23]

This is the story of Freud's descent into a region as black as hell, man's unconscious, and how he let in the light.

Huston explains how he became interested in psychotherapy, the subject of the film:

I first got into that through an experience in a hospital during the war, where I made a documentary about patients suffering from battle neuroses. I was in the army and made the picture "Let There Be Light". That experience started my interest in psychotherapy, and to this day Freud
Freud
looms as the single huge figure in that field.[15]

John Huston's Night of the Iguana set on Mismaloya Beach, in Puerto Vallarta, Mexico

The Night of the Iguana (1964)[edit] For his next film, Huston once again traveled down to Puerto Vallarta, Mexico, after meeting an architect by the name of Guillermo Wulff who owned property and businesses in the town. The filming would take place in a beach cove called Mismaloya, about thirty minutes south of town. Huston adapted the stage play by Tennessee Williams. The film stars Richard Burton
Richard Burton
and Ava Gardner, and was nominated for several Academy Awards. Production attracted intense worldwide media attention, due to Burton bringing his celebrity mistress Elizabeth Taylor (who was still married to singer Eddie Fisher at the time) to Puerto Vallarta, Mexico. Huston liked the town where filming took place so much that he bought a house near there. As did Richard Burton and Elizabeth Taylor. Guillermo Wulff and Huston became friends and always spent time together while Huston was in town, more frequently at Wulff's El Dorado Restaurant on Los Muertos Beach. The owners of Taylor's original home have since completely remodeled the property; Casa Kimberly is a luxury boutique hotel with high-end restaurant.[24] The Bible: In the Beginning (1966)[edit] Producer Dino De Laurentis
Dino De Laurentis
traveled to Ireland to ask Huston to direct The Bible: In the Beginning. Although De Laurentis had ambitions for a broader story, he realized that the subject could not be adequately covered and limited the story to the first half of the Book of Genesis. Huston enjoyed directing the film, as it gave him a chance to indulge his love of animals. Besides directing he also played the role of Noah
Noah
and the voice of God. The film did poorly at the box office, however, and at a cost of 18 million dollars, it was the most expensive movie in his career.[7] Huston likes describing details about the filming:

Every morning before beginning work, I visited the animals. One of the elephants, Candy, loved to be scratched on the belly behind her foreleg. I'd scratch her and she would lean farther and farther toward me until there was some danger of her toppling over on me. One time I started to walk away from her, and she reached out and took my wrist with her trunk and pulled me back to her side. It was a command: "Don't stop!" I used it in the picture. Noah
Noah
scratches the elephant's belly and walks away, and the elephant pulls him back to her time after time.[10]:317

Involvement with the Irish Film Industry[edit]

“ I think the politicians who supported building the studio can take consolation in the fact that it’s brought a lot of money to Ireland. We’re spending more than a million dollars in Ireland and we wouldn’t be here if it weren’t for Ardmore. ”

— John Huston, in an interview on RTE[25]

While working on Casino Royale (1967), Huston took interest in the Irish film industry, which had historically struggled to attain domestic or international success. There were rumors that he would buy Ireland’s premiere film location, Ardmore Studios in Bray, County Wicklow. In 1967, Huston gave Taoiseach
Taoiseach
Jack Lynch
Jack Lynch
a tour of Ardmore and asked to form a committee to help foster a productive Irish film industry. Huston served on the resulting committee with Irish filmmakers and journalists.[25] Lynch also ultimately agreed to offer tax breaks to foreign production companies if they shot in location in Ireland through the Film Act of 1970. [26] Huston was interviewed in Irish journalist Peter Lennon’s Rocky Road to Dublin (1967), where he argued that it was more important for Irish filmmakers to make films in Ireland than for foreign production companies to make international films.[27] Fat City (1972)[edit] After several films that were not well received, Huston returned to critical acclaim with Fat City. Based on Leonard Gardner's 1969 novel of the same name, it was about an aging, washed-up alcoholic boxer in Stockton, California
Stockton, California
trying to get his name back on the map, while having a new relationship with a world weary alcoholic, and an amateur boxer trying to find success in boxing. The film was nominated for several awards upon its release. It starred Stacy Keach, a young Jeff Bridges, and Susan Tyrrell, in which she was nominated for an Academy Award for Best Supporting Actress. Roger Ebert
Roger Ebert
stated Fat City as one of Huston's best films, giving it four out of four stars.[28] The Man Who Would Be King (1975)[edit] Perhaps Huston's most highly regarded film of the 1970s, The Man Who Would Be King was both a critical and commercial success. Huston had been planning to make this film since the '50s, originally with his friends Humphrey Bogart
Humphrey Bogart
and Clark Gable. Eventually the lead roles went to Sean Connery
Sean Connery
and Michael Caine. The movie was filmed on location in North Africa. The film was praised for its use of old fashioned escapism and entertainment. Steven Spielberg
Steven Spielberg
has cited the film as one of his inspirations for his film Raiders of the Lost Ark. Wise Blood (1979)[edit] After filming The Man Who Would Be King, Huston took his longest break between directing films. He returned with an offbeat and somewhat controversial film based on the novel Wise Blood. Here, Huston showed his skills as a storyteller, and boldness when it came to difficult subjects such as religion. Under the Volcano (1984)[edit] Huston's last film set in Mexico
Mexico
stars Albert Finney
Albert Finney
as an alcoholic ambassador during the beginnings of World War II. The film gained a strong critical reception, most notably for Finney's portrayal of a desperate and depressed alcoholic. The film was also a success on the independent circuit. The Dead (1987)[edit] John Huston's final film is an adaptation of the classic short story by James Joyce. This may have been one of Huston's most personal films, due to his citizenship in Ireland and his passion for classic literature. Huston directed most of the film from a wheelchair, as he needed an oxygen tank to breathe during the last few months of his life. The film was nominated for two Academy Awards, and was praised by critics. Roger Ebert
Roger Ebert
eventually placed it in his Great Movies list; a section of movies he claims to be some of the best ever made. Huston died nearly four months before the film's release date. In the 1996 RTE
RTE
documentary John Huston: An t-Éireannach, Anjelica said that “it was very important for my father to make that film.” She contends that Huston did not think that it was going to be his last film, but that it was his love letter to Ireland and the Irish.[25] As an actor[edit] Toward the end of his career he also began to act in various films. In 1963, director Otto Preminger
Otto Preminger
asked if he would portray a Boston prelate in The Cardinal, and, writes author Philip Kemp, he "virtually stole the picture."[7] He was nominated for an Academy Award
Academy Award
for Best Supporting Actor for his role. He had a little participation (as did many others) in 1967's Casino Royale as actor and director. He acted in Roman Polanski's Chinatown (1974) as the film's master villain, and as Teddy Roosevelt's secretary of state John Hay
John Hay
in The Wind and the Lion. Huston enjoyed acting and denied that he took it all that seriously. "It's a cinch," he once said, "and they pay you damn near as much as you make directing."[7] Huston said he did not regard himself very highly as an actor, saying he was only proud of his performance in Chinatown, although he had also greatly enjoyed acting in Winter Kills.[29] He also played the Lawgiver in Battle for the Planet of the Apes. Huston is also famous to a generation of fans of J. R. R. Tolkien's Middle-earth
Middle-earth
stories as the voice of the wizard Gandalf
Gandalf
in the Rankin/Bass
Rankin/Bass
animated adaptations of The Hobbit (1977) and The Return of the King (1980). Movie themes[edit]

"I miss the order that old Hollywood had. It was much easier then to get a picture made than it is today. It's become a cliché that the studio people were picture makers then, but there is a large element of truth in it. They were people who wanted to make pictures, and they knew how to make them. They weren't accountants and bookkeepers, tax consultants and efficiency experts who don't know how to make pictures, or wheeler-dealers; that element just seems to have taken over today—promoters who just want to get a part of the action rather than people who want to make good movies."

John Huston, Playboy interview, 1985[30]

Huston's films were insightful about human nature and human predicaments. They also sometimes included scenes or brief dialogue passages that were remarkably prescient concerning environmental issues that came to public awareness in the future, in the period starting about 1970; examples include The Misfits and The Night of the Iguana (1964). Huston spent long evenings carousing in the Nevada casinos after filming, surrounded by reporters and beautiful women, gambling, drinking, and smoking cigars. According to Kaminsky, Huston's stories were often about "failed quests" by a group of different people. The group would persist in the face of poor odds, doomed at the outset by the circumstances created by an impossible situation.[23] However, some members of the doomed group usually survive, those who are "cool" and "intelligent", or someone who "will sacrifice everything for self-understanding and independence". Those types of characters are exemplified by Bogart in The Maltese Falcon, and Montgomery Clift
Montgomery Clift
in Freud. Another type of quest often seen in Huston's films involve a pair of potential lovers trying to face a hostile world.[23] Flint adds, however, that he "bucked Hollywood's penchant for happy endings", and many of his stories ended with "love unsatisfied".[2] Film historian James Goodwin adds that in virtually all of his films, there is some type of "heroic quest — even if it involves questionable motives or destructive alliances". In addition, the quest "is preferable to the spiritless, amoral routines of life".[8] As a result, his best films, according to Flint, "have lean, fast-paced scripts and vibrant plots and characterizations, and many of them deal ironically with vanity, avarice and unfulfilled quests".[2] However, in the opinion of critics Tony Tracy and Roddy Flynn, "... what fundamentally fascinated Huston was not movies per se — that is, form — but the human condition ... and literature offered a road map for exploring that condition." In many of his films, therefore, he tried to express his interest by developing themes involving some of the "grand narratives" of the twentieth century, such as "faith, meaning, truth, freedom, psychology, colonialism, war and capitalism".[11]:3 To Jameson, all of Huston's films are adaptations, and he believes that through his films there was a "cohesive world-view, not only thematically but also stylistically; there is the Huston look".[7] The "Huston look" was also noted by screenwriter James Agee, who adds that this "look proceeds from Huston's sense of what is natural to the eye and his delicate, simple feeling for space relationships."[7] In any case, notes Flint, Huston took "uncommon care to preserve the writer's styles and values ... and sought repeatedly to transpose the interior essence of literature to film with dramatic and visual tension", as he did in Red Badge of Courage, Moby Dick, and Under the Volcano.[2] Religion is also a theme that runs through many of Huston's films. In The Night of the Iguana, Kaminsky notes how Richard Burton, while preaching a sermon to his congregation, seems "lost, confused, his speech is gibberish", and leads his congregation to turn away from him. In other films, adds Kaminsky, religion is seen as "part of the fantasy world", that the actors must overcome to survive physically or emotionally. "These religious zealots counsel a move away from the pleasure of the world and human love, a world that Huston believes in," concludes Kaminsky.[23] Such religious themes were also seen in The Bible, and Wise Blood, for example. To Barson, however, Huston was among the "least consistent" filmmakers, although he concludes that he was one of the "most interesting directors of the past sixty years".[16] Throughout his long career, many of his films did poorly and were criticized as a result. To a writer in 1972 he commented, "Criticism isn't a new experience for me. Pictures that are now thought of as, forgive the term, classics, weren't all that well thought of at the time they came out."[31] After an interview a few years before he died, the reporter writes that "Huston said he missed the major studio era when people savored making movies, not just money."[2] According to Roger Ebert, on his review of Fat City, "His fascination with underdogs and losers. The characters in Huston movies hardly ever set out to achieve what they're aiming for. Sam Spade, in The Maltese Falcon, Huston's first film, ends up minus one partner and one woman he thought he could trust. Everyone is a loser in The Treasure of the Sierra Madre, and the gold blows back into the dust and is lost in it. Ahab, in Moby Dick. Marlon Brando's career Army officer in Reflections in a Golden Eye, even Bogart and Hepburn in The African Queen – they all fall short of their plans. The African Queen does have a happy ending, but it feels tacked-on and ridiculous, and the Queen destroys itself in destroying the German steamer. So this [Fat City] is a theme we find in Huston's work, but rarely does he fit it to characters and a time and place so well as in Fat City. Maybe that's because Huston knows the territory: he was a professional boxer himself for a while, and not a very good one."[32] Directing techniques[edit]

John has meant a great deal in my life. Nobody would have heard of me if it hadn't been for him. Working with John ten years later is very good. He's a different kind of director than the people I've been working with. He's an artist with a camera—he sees it like a painter.

Marilyn Monroe[13]:495

George Stevens, Jr. notes that while many directors rely on post-production editing to shape their final work, Huston instead created his films while they were being shot: "I don't even know the editor of my films most of the time," Huston said.[15] Actor Michael Caine also observed the same technique: "Most directors don't know what they want so they shoot everything they can think of — they use the camera like a machine gun. John uses it like a sniper."[15] Film writer Peter Flint also agrees and points out other benefits to that style: "He shot economically, eschewing the many protective shots favored by timid directors, and edited cerebrally so that financial backers would have trouble trying to cut scenes." Huston shot most of his films on location, working "intensely" six days a week, and "on Sundays, played equally intense poker with the cast and crew."[2] When asked how he envisions his films while directing and what his goals are, Huston replied:

To me the ideal film — which I've never succeeded in making — would be as though the reel were behind one's eyes and you were projecting it yourself, seeing what you wish to see. This has a great deal in common with thought processes ... That's why I think the camera is an eye as well as a mind. Everything we do with the camera has physiological and mental significance.

According to Kaminsky, much of Huston's vision probably came from his early experience as a painter on the streets of Paris. While there, he studied art and worked at it for a year and a half. Huston continued painting as a hobby for most of his life. Kaminsky also notes that most of Huston's films "reflected this prime interest in the image, the moving portrait and the use of color."[23] Huston explored the use of "stylistic framing", especially well-planned close-ups, in much of his directing. In his first film, The Maltese Falcon, for instance, Huston sketched out all of his scenes beforehand, "like canvases of paintings".[23] His daughter, Anjelica Huston
Anjelica Huston
adds that even for his subsequent films, he sketched storyboards "constantly". She agrees that for her father, "it was a form of study, and my father was a painter, a very good one." She also notes that "there was an extremely developed sensory quality about my father, he didn't miss a trick."[11]:20 Awards and honors[edit]

Statue of John Huston, Puerto Vallarta, Mexico

Huston received 15 Oscar nominations in the course of his career, and is the oldest person ever to be nominated for the Best Director Oscar when, at 79 years old, he was nominated for Prizzi's Honor
Prizzi's Honor
(1985). He won two Oscars, for directing and writing the screenplay for The Treasure of the Sierra Madre. Huston also won a Golden Globe for that film. He received the Life Achievement Award from the American Film Institute in 1983,[33] and the Career Achievement Award from the U.S. National Board of Review of Motion Pictures
National Board of Review of Motion Pictures
in 1984.[34] He also has the unique distinction of directing both his father Walter and his daughter Anjelica in Oscar-winning performances (in The Treasure of the Sierra Madre and Prizzi's Honor, respectively), making the Hustons the first family to have three generations of Academy Award winners. He also directed her in Sinful Davey
Sinful Davey
in 1969.[35] In addition, he also directed 13 other actors in Oscar-nominated performances: Sydney Greenstreet, Claire Trevor, Sam Jaffe, Humphrey Bogart, Katharine Hepburn, José Ferrer, Colette Marchand, Deborah Kerr, Grayson Hall, Susan Tyrrell, Albert Finney, Jack Nicholson
Jack Nicholson
and William Hickey. In 1960, Huston was honored with a star on the Hollywood Walk of Fame for his contribution to motion pictures. In 1965, Huston received the Laurel Award for Screenwriting Achievement from the Writers Guild of America. In 1981 his film Escape to Victory
Escape to Victory
was nominated for the Golden Prize at the 12th Moscow International Film Festival.[36] A statue of Huston, sitting in his director's chair, stands in Plaza John Huston
John Huston
in Puerto Vallarta, Mexico.[37][38] Personal life and death[edit]

With daughter Anjelica, c. 1960

To producer George Stevens, Jr., Huston symbolized "intellect, charm and physical grace" within the film industry. He adds, "He was the most charismatic of the directors I knew, speaking with a soothing, melodic voice that was often mimicked, but was unique to him."[15] While driving on Sunset Boulevard on September 25, 1933, Huston struck and killed a pedestrian, a Brazilian dancer named Tosca Roulien. The resulting media frenzy forced Huston to retreat temporarily from public performance, and he took work as a screenwriter instead. A subsequent inquest absolved Huston of any blame for the accident.[39] Huston loved the outdoors, especially sports such as hunting while living in Ireland. He claimed that he had no orthodox religion.[10]:234 Among his life's adventures before becoming a Hollywood filmmaker, he had been an amateur boxer, reporter, short-story writer, portrait artist in Paris, a cavalry rider in Mexico, and a documentary filmmaker during World War II. Besides sports and adventure, he enjoyed hard liquor and relationships with women of all types — one of the reasons he was married five times. Stevens describes him as someone who "lived life to its fullest".[15] Barson even suggests that Huston's "flamboyant life" as a rebel would possibly make for "an even more engaging tale than most of his movies".[16] His daughter, Anjelica Huston
Anjelica Huston
notes that he did not like Hollywood, and "especially despised Beverly Hills ... he thought it was just fake from the ground up. He didn't like any of that; he was not intrigued or attracted by it." She notes that in contrast, "he liked to be in the wild places; he liked animals as much as he liked people."[11]:20 It has been suggested that John Huston
John Huston
was an atheist, but his religious beliefs are hard to determine. His daughter, Anjelica, was raised Roman Catholic.[40] He was married five times:

Dorothy Harvey  (1906–1982) — This marriage ended after a year in 1926. (Steve Hodell states "Their marriage lasted seven years, from 1926 to 1933." Her second husband, Dr. George Hodell, was one of the people accused of the Black Dahlia murder.)[41] Lesley Black — It was during his marriage to Black that he embarked on an affair with married New York socialite Marietta FitzGerald. While her lawyer husband was helping the war effort, the pair were once rumoured to have made love so vigorously, they broke a friend's bed.[42] Evelyn Keyes  (1916–2008) — The Hustons adopted a son Pablo, from Mexico. Enrica Soma  (1929–1969) — They had two children: a daughter, Anjelica Huston, and a son, Walter Antony "Tony" Huston, now an attorney and father of actor Jack Huston. Soma also had a daughter, Allegra Huston, as the result of an extramarital affair with John Julius Norwich; Huston treated the girl as one of his own children following Soma's death four years later. Celeste Shane — In his autobiography, An Open Book, Huston refers to her as a "crocodile", and states only that if he had his life to do over, he would not marry a fifth time.

Four of his marriages ended in divorce. His fourth wife, Enrica Soma, died in a car accident in 1969, while they were married. In addition to his children with Soma, he fathered a son, actor Danny Huston, with author Zoe Sallis. Among his friends were Orson Welles
Orson Welles
and Ernest Hemingway. Humphrey Bogart was one of his best friends and Huston delivered the eulogy at his funeral. Huston visited Ireland in 1951 and stayed at Luggala, County Wicklow, the home of Garech Browne, a member of the Guinness
Guinness
family. He visited Ireland several times afterwards and on one of these visits he purchased and restored a Georgian home, St Clerans, of Craughwell, County Galway. Between 1960 and 1971 he served as Master of Fox Hounds (MFH) of the County Galway
County Galway
Hunt – the famous "Galway Blazers" – whose kennels are at Craughwell. He renounced his U.S. citizenship and became an Irish citizen in 1964.[43][44] His daughter Anjelica attended school in Ireland at Kylemore Abbey
Kylemore Abbey
for a number of years. A film school is now dedicated to him on the NUIG
NUIG
campus.

Grave of John Huston
John Huston
and his mother, Rhea, at Hollywood Forever

Huston was an accomplished painter who wrote in his autobiography, "Nothing has played a more important role in my life". As a young man he studied at the Smith School of Art in Los Angeles but dropped out within a few months. He later studied at the Art Students League of New York. He painted throughout his life and had studios in each of his homes. He had owned a wide collection of art, including a notable collection of Pre-Columbian art.[45] A heavy smoker, he was diagnosed with emphysema in 1978. By the last year of his life he could not breathe for more than twenty minutes without needing oxygen.[46] He died on August 28, 1987, in his rented home in Middletown, Rhode Island, from pneumonia as a complication of lung disease.[47] Huston is interred in the Hollywood Forever Cemetery in Hollywood with his mother.

Archives[edit] The moving image collection of John Huston
John Huston
is held at the Academy Film Archive. The film material at the Academy Film Archive is complemented by production files, photographs, and personal correspondence found in the John Huston
John Huston
papers, 1932-1981, at the Academy’s Margaret Herrick Library.[48] Filmography[edit] Director[edit]

Year Film Notes

1941 The Maltese Falcon Nominated- Academy Award
Academy Award
for Best Writing Adapted Screenplay

1942 In This Our Life

Across the Pacific

1946 Let There Be Light Documentary

1948 The Treasure of the Sierra Madre Academy Award
Academy Award
for Best Director Academy Award
Academy Award
for Best Adapted Screenplay Golden Globe Award for Best Director New York Film Critics Circle Award for Best Director Nominated— Venice Film Festival
Venice Film Festival
Grand International Award

Key Largo

1949 We Were Strangers

1950 The Asphalt Jungle National Board of Review Award for Best Director Nominated— Academy Award
Academy Award
for Best Director Nominated—Directors Guild of America Award for Outstanding Directing – Feature Film Nominated—Golden Globe Award for Best Director Nominated—New York Film Critics Circle Award for Best Director Nominated— Venice Film Festival
Venice Film Festival
Golden Lion

1951 The Red Badge of Courage

The African Queen Nominated— Academy Award
Academy Award
for Best Director Nominated—New York Film Critics Circle Award for Best Director

1952 Moulin Rouge Venice Film Festival
Venice Film Festival
Silver Lion Nominated— Academy Award
Academy Award
for Best Picture Nominated— Academy Award
Academy Award
for Best Director Nominated— Venice Film Festival
Venice Film Festival
Golden Lion

1953 Beat the Devil

1956 Moby Dick Silver Ribbon for Best Foreign Film National Board of Review Award for Best Director New York Film Critics Circle Award for Best Director Nominated—Directors Guild of America Award for Outstanding Directing – Feature Film

1957 Heaven Knows, Mr. Allison Nominated—Directors Guild of America Award for Outstanding Directing – Feature Film

1958 The Barbarian and the Geisha

The Roots of Heaven

1960 The Unforgiven

The Misfits Nominated—Directors Guild of America Award for Outstanding Directing – Feature Film

1962 Freud Nominated—Directors Guild of America Award for Outstanding Directing – Feature Film Nominated—Golden Globe Award for Best Director Nominated— Golden Bear
Golden Bear
for Best Motion Picture

1963 The List of Adrian Messenger

1964 The Night of the Iguana Nominated—Directors Guild of America Award for Outstanding Directing – Feature Film Nominated—Golden Globe Award for Best Director

1966 The Bible Nominated— David di Donatello
David di Donatello
for Best Foreign Director

1967 Reflections in a Golden Eye

Casino Royale

1969 Sinful Davey

A Walk with Love and Death

1970 The Kremlin Letter

1972 Fat City

The Life and Times of Judge Roy Bean

1973 The Mackintosh Man

1975 The Man Who Would Be King

1976 Independence Documentary

1979 Wise Blood Nominated—Gold Hugo for Best Feature Nominated— San Sebastián International Film Festival
San Sebastián International Film Festival
for Best Film

1980 Phobia

1981 Victory Nominated— Moscow International Film Festival
Moscow International Film Festival
Golden Prize

1982 Annie

1984 Under the Volcano Nominated—Cannes Film Festival Palme d'Or

1985 Prizzi's Honor Boston Society of Film Critics Award for Best Director Golden Globe Award for Best Director National Society of Film Critics Award for Best Director New York Film Critics Circle Award for Best Director Venice Film Festival
Venice Film Festival
Golden Ciak for Best Film Nominated— Academy Award
Academy Award
for Best Director Nominated— David di Donatello
David di Donatello
for Best Foreign Director Nominated—Directors Guild of America Award for Outstanding Directing – Feature Film Nominated—Silver Ribbon for Best Foreign Director Nominated— Venice Film Festival
Venice Film Festival
Golden Lion

1987 The Dead Bodil Award for Best Non-European Film French Syndicate of Cinema Critics for Best Foreign Film Independent Spirit Award for Best Director London Film Critics Circle Award for Director of the Year Silver Guild Film Award for Best Foreign Film Nominated— David di Donatello
David di Donatello
for Best Foreign Film Nominated— David di Donatello
David di Donatello
for Best Foreign Director Nominated—National Society of Film Critics Award for Best Director Nominated—New York Film Critics Circle Award for Best Director Nominated— Tokyo International Film Festival
Tokyo International Film Festival
Grand Prix

Screenwriter[edit]

Year Title Director Notes

1930 The Storm William Wyler (written with Charles Logue, Langdon McCormick, Tom Reed, and Wells Root)

1931 A House Divided William Wyler (written with John B. Clymer, Olive Edens, and Dale Van Every)

1932 Murders in the Rue Morgue Robert Florey (written with Tom Reed, and Dale Van Every)

1935 Death Drives Through Edward L. Cahn (written with Katherine Strueby, and Gordon Wellesley)

It Happened in Paris Robert Wyler Carol Reed (written with Katherine Strueby, H. F. Maltby)

1938 The Amazing Dr. Clitterhouse Anatole Litvak (written with John Wexley)

Jezebel William Wyler (written with Clements Ripley, Abem Finkel, and Robert Buckner)

1940 Dr. Ehrlich's Magic Bullet William Dieterle (written with Norman Burnstine and Heinz Herald) Nominated— Academy Award
Academy Award
for Best Original Screenplay

1941 High Sierra Raoul Walsh (written with W. R. Burnett)

The Maltese Falcon Himself Nominated— Academy Award
Academy Award
for Best Adapted Screenplay

Sergeant York Howard Hawks (written with Abem Finkel, Harry Chandler, and Howard Koch) Nominated— Academy Award
Academy Award
for Best Original Screenplay

1946 The Killers Robert Siodmak (written with Anthony Veiller) (uncredited)

The Three Strangers Jean Negulesco (written with Howard Koch)

1948 The Treasure of the Sierra Madre Himself Academy Award
Academy Award
for Best Adapted Screenplay National Board of Review Award for Best Screenplay Writers Guild of America Award for Best Written American Western Nominated— Writers Guild of America Award for Best Written American Drama

Key Largo Himself (written with Richard Brooks) Nominated— Writers Guild of America Award for Best Written American Drama

1949 We Were Strangers Himself (written with Peter Viertel)

1950 The Asphalt Jungle Himself (written with Ben Maddow) Nominated— Academy Award
Academy Award
for Best Adapted Screenplay Nominated—Golden Globe Award for Best Screenplay Nominated—The Robert Meltzer Award (Screenplay Dealing Most Ably with Problems of the American Scene) Nominated— Writers Guild of America Award for Best Written American Drama

1951 The African Queen Himself (written with James Agee) Nominated— Academy Award
Academy Award
for Best Adapted Screenplay

1952 Moulin Rouge Himself (written with Anthony Veiller) Nominated— Writers Guild of America Award for Best Written American Drama

1953 Beat the Devil Himself (written with Truman Capote)

1956 Moby Dick Himself (written with Ray Bradbury) New York Film Critics Circle Award for Best Screenplay (2nd place)

1957 Heaven Knows, Mr. Allison Himself (written with John Lee Mahin) Nominated— Academy Award
Academy Award
for Best Adapted Screenplay Nominated— Writers Guild of America Award for Best Written American Drama

1961 The Asphalt Jungle Herman Hoffman (written with Ben Maddow; teleplay by George Bellak) Television; episode "The Professor"

1964 The Night of the Iguana Himself (written with Anthony Veiller) Nominated— Writers Guild of America Award for Best Written American Drama

1970 The Kremlin Letter Himself (written with Gladys Hill)

1975 The Man Who Would Be King Himself (written with Gladys Hill) Nominated— Academy Award
Academy Award
for Best Adapted Screenplay Nominated— Writers Guild of America Award for Best Drama Adapted from Another Medium

1988 Mr. North Danny Huston (written with Janet Roach and James Costigan)

Actor[edit]

Year Title Role Notes

1929 The Shakedown Extra Directed by William Wyler Uncredited

Hell's Heroes Bit part Directed by William Wyler Uncredited

1930 The Storm Extra Directed by William Wyler Uncredited

1948 The Treasure of the Sierra Madre American in Tampico in White Suit Also director Uncredited

1949 We Were Strangers Señor Muñoz Also director Uncredited

1951 The Red Badge of Courage Grizzled union veteran Also director Uncredited

1956 Moby Dick Barman / ship's lookout (voice) Also director Uncredited

1961 The Misfits Extra in Blackjack scene Also director Uncredited

1962 Freud: The Secret Passion Narrator Also director Uncredited

The List of Adrian Messenger Lord Ashton Also director Uncredited

1963 The Cardinal Glennon Directed by Otto Preminger Golden Globe Award for Best Supporting Actor – Motion Picture Nominated— Academy Award
Academy Award
for Best Supporting Actor Nominated—Laurel Award for Top Male Supporting Performance

1966 The Bible Noah Also director

The Legend of Marilyn Monroe Narrator Directed by Terry Sanders

1967 Casino Royale M / General McTarry Also co-director

1968 Candy Dr. Arnold Dunlap Directed by Christian Marquand

1969 De Sade The Abbe Directed by Cy Endfield

A Walk with Love and Death Robert the Elder Also director

1970 The Kremlin Letter Admiral Also director

Myra Breckinridge Buck Loner Directed by Michael Sarne

1971 The Bridge in the Jungle Sleigh Directed by Pancho Kohner

The Deserter General Miles Directed by Burt Kennedy

Man in the Wilderness Captain Henry Directed by Richard C. Sarafian

1972 Appointment with Destiny Narrator Episode: "The Crucifixion of Jesus"

The Life and Times of Judge Roy Bean Grizzly Adams Also director

The Other Side of the Wind J. J. Jake Hannaford Directed Orson Welles Unfinished film

1973 Battle for the Planet of the Apes The Lawgiver Directed by J. Lee Thompson

1974 Chinatown Noah
Noah
Cross Directed by Roman Polanski Kansas City Film Critics Circle Award for Best Supporting Actor Nominated—BAFTA Award for Best Supporting Actor Nominated—Golden Globe Award for Best Supporting Actor – Motion Picture

1975 Breakout Harris Wagner Directed by Tom Gries

The Wind and the Lion John Hay Directed by John Milius

1976 Sherlock Holmes in New York Professor Moriarty Directed by Boris Sagal

1977 The Rhinemann Exchange Ambassador Henderson Granville

Tentacles Ned Turner Directed by Ovidio G. Assonitis

Angela Hogan Directed by Boris Sagal

The Hobbit Gandalf Directed by Arthur Rankin, Jr., Jules Bass

1978 The Greatest Battle Sean O'Hara Directed by Umberto Lenzi

The Bermuda Triangle Edward Directed by René Cardona, Jr.

The Word Nathan Randall TV miniseries

1979 The Visitor Jerzy Colsowicz Directed by Giulio Paradisi

Winter Kills Pa Kegan Directed by William Richert

Wise Blood Grandfather Also director

Jaguar Lives! Ralph Richards Directed by Ernest Pintoff

1980 The Return of the King Gandalf Directed by Jules Bass, Arthur Rankin, Jr.

Head On Clarke Hill Directed by Michael Grant

1982 Cannery Row Narrator Directed by David S. Ward

Annie Actor on radio Also director Uncredited

1983 Lovesick Larry Geller, M.D. Directed by Marshall Brickman

A Minor Miracle Father Cardenas Directed by Raoul Lomas

1985 Alfred Hitchcock
Alfred Hitchcock
Presents Carlos Narrator Episode: "Pilot" Segment: "Man from the South"

Epic Narrator Directed by Yoram Gross

The Black Cauldron Narrator

1986 Momo Meister Hora Directed by Johannes Schaaf

1987 Mister Corbett's Ghost Soul collector Directed by Danny Huston

References[edit]

^ Byrne, James Patrick (2008). Philip Coleman, Jason Francis King, ed. Ireland and the Americas: Culture, Politics, and History : a Multidisciplinary Encyclopedia, Volume 2. ABC-CLIO. p. 442. ISBN 9781851096145. Retrieved May 23, 2013.  ^ a b c d e f g h i j k l m n Flint, Peter (August 29, 1987). "John Huston, Film Director, Writer and Actor, Dies at 81". New York Times. Archived from the original on January 11, 2013.  ^ http://www.rte.ie/archives/2016/0802/806458-john-huston-becomes-irish-citizen/ ^ a b Freer, Ian. Moviemakers Quercus (2009), pp. 70–71. ^ Rhea Gore Huston; findagrave.com ^ a b Grobel, Lawrence. The Art of the Interview: Lessons from a Master of the Craft, Random House (2004). ^ a b c d e f g h i j k l m n o p q r s t u Wakeman, John. (Ed.) World Film Directors, Vol. I, 1890–1945, New York, The H. W. Wilson Co. (1987), pp. 485–493. ^ a b c d e f g h i j k Goodwin, James; Morsberger, Robert E. (editor) American Screenwriters, Gale Research Co. (1984), pp. 164–171. ^ http://www.huffingtonpost.co.uk/entry/hollywood-scandals-eddie-mannix_uk_577fa12ae4b0935d4b4aaf73 ^ a b c d e Huston, John. An Open Book, New York. Alfred A. Knopf (1980). ^ a b c d Tracy, Tony; Flynn, Roddy. John Huston: Essays on a Restless Director, McFarland (2010). ^ "The Stranger". AFI Catalog of Feature Films. American Film Institute. Retrieved 2015-05-10.  ^ a b c d Grobel, Lawrence. The Hustons, Charles Scribner's Sons, N.Y. (1989) ^ Sarris, Andrew. The American Cinema: Directors and Directions, 1929–1968 Dutton (1968), pp. 156–158. ^ a b c d e f g h Stevens, George Jr. Conversations with the Great Moviemakers of Hollywood's Golden Age, New York. Alfred A. Knopf (2006), pp. 335–355. ^ a b c d e Barson, Michael. The Illustrated Who's Who of Hollywood Directors, Vol 1: The Sound Era Noonday Press (1995), pp. 208–215. ^ Hepburn, Katharine. The Making of The African Queen, Or, How I Went to Africa with Bogart, Bacall, and Huston and Almost Lost My Mind. 1st ed, Knopf : Distributed by Random House, 1987. ^ Hoberman, Jim (July 13, 2010). "Voice Choices: White Hunter, Black Heart". The Village Voice. Retrieved 2015-01-04. ^ Grobel, Lawrence. "Playboy Interview with John Huston", Playboy magazine, September 1985. ^ Ray Bradbury: An American Icon. ^ Bradbury, Ray. Green Shadows, White Whale. Harper Perennial, 2002. ^ Brantley, Ben (October 11, 2004). "Theater Review: Some Like It Hot, Some Like It Painted in Words". The New York Times.  ^ a b c d e f Kaminsky, Stuart M. International Dictionary of Films and Filmmakers: Directors 3rd ed., St. James Press (1997), pp. 459–463. ^ http://casakimberly.com/ ^ a b c John Huston: An t-Éireannach. Directed by Brian Reddin, interviews with Anjelica Huston, Louis Marcus, and Ann Fahys, TG4, 1996. ^ O'Shea, Joe (3 August 2014). "Irish Film: The Force is with us". Irish Independent. Retrieved 7 February 2017.  ^ Lennon, Peter. Rocky Road to Dublin. Cinematography by Raoul Coutard, 17 May 1968. ^ "Fat City :: rogerebert.com :: Reviews". January 1, 1972.  ^ Long, Robert Emmet John Huston: Interviews (Conversations with Filmmakers) (2001), p. 178. ^ Grobel, Lawrence. "Playboy Interview with John Huston," Playboy magazine, September 1985. ^ Life magazine, August 4, 1972, p. 69. ^ Ebert, Roger. Chicago Sun-Times, film review, January 1, 1972. ^ " John Huston
John Huston
Accepts the AFI Life Achievement Award
AFI Life Achievement Award
in 1983", American Film Institute ^ "1984 Award Winners". National Board of Review of Motion Pictures. 2016. Retrieved November 7, 2016.  ^ Photo of John and Anjelica Huston
Anjelica Huston
on the set of Sinful Davey Archived October 13, 2016, at the Wayback Machine. ^ " 12th Moscow International Film Festival (1981)". MIFF. Archived from the original on April 21, 2013. Retrieved January 27, 2013.  ^ Lieber et al. 2007, p. 468. ^ Greensfelder & Read 2006, p. 64–65. ^ Meyers, Jeffrey (2011). John Huston: Courage and Art. New York: Crown/Archetype. p. 40. ISBN 9780307590695.  ^ "That character had such a weird internal life." What help could Huston give you? "Not much. I was on my own there. I think Huston was baffled by the script, which was very Catholic, whereas he was a devout atheist." Brad Dourif interviewed by Ryan Gilbey, 'How Weird is Brad?', The Independent (London), December 20, 2002, Features, Pg. 12. ^ http://stevehodel.com/2016/04/dorothy-huston-hodel-1906-1983-remembrance-110th-birthday/ ^ "Running Around in High Circles". The New York Times.  ^ "Veteran Film Producer Becomes Irish Citizen". Spokane Daily Chronicle. January 3, 1964. Retrieved May 14, 2012.  ^ "It's Sean Huston Now". St. Petersburg Times. January 4, 1964. Retrieved May 14, 2012.  ^ Art by Directors, Karl French, Granta 86, 2004, ISBN 0-903141-69-8. ^ " John Huston
John Huston
Is Not Well But He's Very Much Alive – Chicago Tribune". Articles.chicagotribune.com. March 12, 1987. Retrieved March 3, 2013.  ^ "Actor John Huston
John Huston
Warns Others About Emphysema
Emphysema
With PM-Obit-Huston Bjt". Apnewsarchive.com. August 29, 1987. Retrieved March 3, 2013.  ^ " John Huston
John Huston
Collection". Academy Film Archive. 

External links[edit]

John Huston
John Huston
on IMDb They Shoot Pictures, Don't They? Literature on John Huston "John Huston". Find a Grave. Retrieved June 11, 2013.  John Huston
John Huston
papers, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences

Awards for John Huston

v t e

Academy Award
Academy Award
for Best Director

1927–1950

Frank Borzage
Frank Borzage
(1927) Lewis Milestone
Lewis Milestone
(1928) Frank Lloyd
Frank Lloyd
(1929) Lewis Milestone
Lewis Milestone
(1930) Norman Taurog
Norman Taurog
(1931) Frank Borzage
Frank Borzage
(1932) Frank Lloyd
Frank Lloyd
(1933) Frank Capra
Frank Capra
(1934) John Ford
John Ford
(1935) Frank Capra
Frank Capra
(1936) Leo McCarey (1937) Frank Capra
Frank Capra
(1938) Victor Fleming
Victor Fleming
(1939) John Ford
John Ford
(1940) John Ford
John Ford
(1941) William Wyler
William Wyler
(1942) Michael Curtiz
Michael Curtiz
(1943) Leo McCarey (1944) Billy Wilder
Billy Wilder
(1945) William Wyler
William Wyler
(1946) Elia Kazan
Elia Kazan
(1947) John Huston
John Huston
(1948) Joseph L. Mankiewicz
Joseph L. Mankiewicz
(1949) Joseph L. Mankiewicz
Joseph L. Mankiewicz
(1950)

1951–1975

George Stevens
George Stevens
(1951) John Ford
John Ford
(1952) Fred Zinnemann
Fred Zinnemann
(1953) Elia Kazan
Elia Kazan
(1954) Delbert Mann
Delbert Mann
(1955) George Stevens
George Stevens
(1956) David Lean
David Lean
(1957) Vincente Minnelli
Vincente Minnelli
(1958) William Wyler
William Wyler
(1959) Billy Wilder
Billy Wilder
(1960) Jerome Robbins
Jerome Robbins
and Robert Wise
Robert Wise
(1961) David Lean
David Lean
(1962) Tony Richardson
Tony Richardson
(1963) George Cukor
George Cukor
(1964) Robert Wise
Robert Wise
(1965) Fred Zinnemann
Fred Zinnemann
(1966) Mike Nichols
Mike Nichols
(1967) Carol Reed
Carol Reed
(1968) John Schlesinger
John Schlesinger
(1969) Franklin J. Schaffner
Franklin J. Schaffner
(1970) William Friedkin
William Friedkin
(1971) Bob Fosse
Bob Fosse
(1972) George Roy Hill (1973) Francis Ford Coppola
Francis Ford Coppola
(1974) Miloš Forman
Miloš Forman
(1975)

1976–2000

John G. Avildsen
John G. Avildsen
(1976) Woody Allen
Woody Allen
(1977) Michael Cimino
Michael Cimino
(1978) Robert Benton (1979) Robert Redford
Robert Redford
(1980) Warren Beatty
Warren Beatty
(1981) Richard Attenborough
Richard Attenborough
(1982) James L. Brooks
James L. Brooks
(1983) Miloš Forman
Miloš Forman
(1984) Sydney Pollack
Sydney Pollack
(1985) Oliver Stone
Oliver Stone
(1986) Bernardo Bertolucci
Bernardo Bertolucci
(1987) Barry Levinson
Barry Levinson
(1988) Oliver Stone
Oliver Stone
(1989) Kevin Costner
Kevin Costner
(1990) Jonathan Demme
Jonathan Demme
(1991) Clint Eastwood
Clint Eastwood
(1992) Steven Spielberg
Steven Spielberg
(1993) Robert Zemeckis
Robert Zemeckis
(1994) Mel Gibson
Mel Gibson
(1995) Anthony Minghella
Anthony Minghella
(1996) James Cameron
James Cameron
(1997) Steven Spielberg
Steven Spielberg
(1998) Sam Mendes
Sam Mendes
(1999) Steven Soderbergh
Steven Soderbergh
(2000)

2001–present

Ron Howard
Ron Howard
(2001) Roman Polanski
Roman Polanski
(2002) Peter Jackson
Peter Jackson
(2003) Clint Eastwood
Clint Eastwood
(2004) Ang Lee
Ang Lee
(2005) Martin Scorsese
Martin Scorsese
(2006) Joel Coen and Ethan Coen (2007) Danny Boyle
Danny Boyle
(2008) Kathryn Bigelow
Kathryn Bigelow
(2009) Tom Hooper
Tom Hooper
(2010) Michel Hazanavicius
Michel Hazanavicius
(2011) Ang Lee
Ang Lee
(2012) Alfonso Cuarón
Alfonso Cuarón
(2013) Alejandro G. Iñárritu (2014) Alejandro G. Iñárritu (2015) Damien Chazelle
Damien Chazelle
(2016) Guillermo del Toro
Guillermo del Toro
(2017)

v t e

Academy Award
Academy Award
for Best Adapted Screenplay

1928–1950

Benjamin Glazer (1928) Hanns Kräly (1929) Frances Marion
Frances Marion
(1930) Howard Estabrook
Howard Estabrook
(1931) Edwin J. Burke (1932) Victor Heerman
Victor Heerman
and Sarah Y. Mason
Sarah Y. Mason
(1933) Robert Riskin
Robert Riskin
(1934) Dudley Nichols (1935) Pierre Collings
Pierre Collings
and Sheridan Gibney (1936) Heinz Herald, Geza Herczeg, and Norman Reilly Raine
Norman Reilly Raine
(1937) Ian Dalrymple, Cecil Arthur Lewis, W. P. Lipscomb, and George Bernard Shaw (1938) Sidney Howard
Sidney Howard
(1939) Donald Ogden Stewart
Donald Ogden Stewart
(1940) Sidney Buchman and Seton I. Miller (1941) George Froeschel, James Hilton, Claudine West, and Arthur Wimperis (1942) Philip G. Epstein, Julius J. Epstein, and Howard E. Koch (1943) Frank Butler, and Frank Cavett (1944) Charles Brackett and Billy Wilder
Billy Wilder
(1945) Robert Sherwood (1946) George Seaton
George Seaton
(1947) John Huston
John Huston
(1948) Joseph L. Mankiewicz
Joseph L. Mankiewicz
(1949) Joseph L. Mankiewicz
Joseph L. Mankiewicz
(1950)

1951–1975

Harry Brown and Michael Wilson (1951) Charles Schnee (1952) Daniel Taradash (1953) George Seaton
George Seaton
(1954) Paddy Chayefsky
Paddy Chayefsky
(1955) John Farrow, S. J. Perelman, and James Poe (1956) Carl Foreman
Carl Foreman
and Michael Wilson (1957) Alan Jay Lerner
Alan Jay Lerner
(1958) Neil Paterson (1959) Richard Brooks
Richard Brooks
(1960) Abby Mann (1961) Horton Foote (1962) John Osborne
John Osborne
(1963) Edward Anhalt (1964) Robert Bolt (1965) Robert Bolt (1966) Stirling Silliphant (1967) James Goldman (1968) Waldo Salt (1969) Ring Lardner Jr.
Ring Lardner Jr.
(1970) Ernest Tidyman (1971) Francis Ford Coppola
Francis Ford Coppola
and Mario Puzo
Mario Puzo
(1972) William Peter Blatty
William Peter Blatty
(1973) Francis Ford Coppola
Francis Ford Coppola
and Mario Puzo
Mario Puzo
(1974) Bo Goldman
Bo Goldman
and Lawrence Hauben (1975)

1976–2000

William Goldman
William Goldman
(1976) Alvin Sargent (1977) Oliver Stone
Oliver Stone
(1978) Robert Benton (1979) Alvin Sargent (1980) Ernest Thompson
Ernest Thompson
(1981) Costa-Gavras
Costa-Gavras
and Donald E. Stewart (1982) James L. Brooks
James L. Brooks
(1983) Peter Shaffer (1984) Kurt Luedtke (1985) Ruth Prawer Jhabvala
Ruth Prawer Jhabvala
(1986) Bernardo Bertolucci
Bernardo Bertolucci
and Mark Peploe (1987) Christopher Hampton
Christopher Hampton
(1988) Alfred Uhry
Alfred Uhry
(1989) Michael Blake (1990) Ted Tally (1991) Ruth Prawer Jhabvala
Ruth Prawer Jhabvala
(1992) Steven Zaillian (1993) Eric Roth (1994) Emma Thompson
Emma Thompson
(1995) Billy Bob Thornton
Billy Bob Thornton
(1996) Curtis Hanson
Curtis Hanson
and Brian Helgeland (1997) Bill Condon (1998) John Irving
John Irving
(1999) Stephen Gaghan
Stephen Gaghan
(2000)

2001–present

Akiva Goldsman
Akiva Goldsman
(2001) Ronald Harwood (2002) Philippa Boyens, Peter Jackson, and Fran Walsh (2003) Alexander Payne
Alexander Payne
and Jim Taylor (2004) Larry McMurtry
Larry McMurtry
and Diana Ossana (2005) William Monahan
William Monahan
(2006) Joel Coen and Ethan Coen (2007) Simon Beaufoy (2008) Geoffrey S. Fletcher
Geoffrey S. Fletcher
(2009) Aaron Sorkin
Aaron Sorkin
(2010) Alexander Payne, Jim Rash, and Nat Faxon
Nat Faxon
(2011) Chris Terrio (2012) John Ridley
John Ridley
(2013) Graham Moore (2014) Adam McKay
Adam McKay
and Charles Randolph (2015) Barry Jenkins
Barry Jenkins
and Tarell Alvin McCraney
Tarell Alvin McCraney
(2016) James Ivory
James Ivory
(2017)

v t e

AFI Life Achievement Award

John Ford
John Ford
(1973) James Cagney
James Cagney
(1974) Orson Welles
Orson Welles
(1975) William Wyler
William Wyler
(1976) Bette Davis
Bette Davis
(1977) Henry Fonda
Henry Fonda
(1978) Alfred Hitchcock
Alfred Hitchcock
(1979) James Stewart
James Stewart
(1980) Fred Astaire
Fred Astaire
(1981) Frank Capra
Frank Capra
(1982) John Huston
John Huston
(1983) Lillian Gish
Lillian Gish
(1984) Gene Kelly
Gene Kelly
(1985) Billy Wilder
Billy Wilder
(1986) Barbara Stanwyck
Barbara Stanwyck
(1987) Jack Lemmon
Jack Lemmon
(1988) Gregory Peck
Gregory Peck
(1989) David Lean
David Lean
(1990) Kirk Douglas
Kirk Douglas
(1991) Sidney Poitier
Sidney Poitier
(1992) Elizabeth Taylor
Elizabeth Taylor
(1993) Jack Nicholson
Jack Nicholson
(1994) Steven Spielberg
Steven Spielberg
(1995) Clint Eastwood
Clint Eastwood
(1996) Martin Scorsese
Martin Scorsese
(1997) Robert Wise
Robert Wise
(1998) Dustin Hoffman
Dustin Hoffman
(1999) Harrison Ford
Harrison Ford
(2000) Barbra Streisand
Barbra Streisand
(2001) Tom Hanks
Tom Hanks
(2002) Robert De Niro
Robert De Niro
(2003) Meryl Streep
Meryl Streep
(2004) George Lucas
George Lucas
(2005) Sean Connery
Sean Connery
(2006) Al Pacino
Al Pacino
(2007) Warren Beatty
Warren Beatty
(2008) Michael Douglas
Michael Douglas
(2009) Mike Nichols
Mike Nichols
(2010) Morgan Freeman
Morgan Freeman
(2011) Shirley MacLaine
Shirley MacLaine
(2012) Mel Brooks
Mel Brooks
(2013) Jane Fonda
Jane Fonda
(2014) Steve Martin
Steve Martin
(2015) John Williams
John Williams
(2016) Diane Keaton
Diane Keaton
(2017) George Clooney
George Clooney
(2018)

v t e

BAFTA Fellowship recipients

1971–2000

Alfred Hitchcock
Alfred Hitchcock
(1971) Freddie Young (1972) Grace Wyndham Goldie (1973) David Lean
David Lean
(1974) Jacques Cousteau
Jacques Cousteau
(1975) Charlie Chaplin
Charlie Chaplin
(1976) Laurence Olivier
Laurence Olivier
(1976) Denis Forman (1977) Fred Zinnemann
Fred Zinnemann
(1978) Lew Grade
Lew Grade
(1979) Huw Wheldon
Huw Wheldon
(1979) David Attenborough
David Attenborough
(1980) John Huston
John Huston
(1980) Abel Gance
Abel Gance
(1981) Michael Powell
Michael Powell
& Emeric Pressburger
Emeric Pressburger
(1981) Andrzej Wajda
Andrzej Wajda
(1982) Richard Attenborough
Richard Attenborough
(1983) Hugh Greene (1984) Sam Spiegel
Sam Spiegel
(1984) Jeremy Isaacs (1985) Steven Spielberg
Steven Spielberg
(1986) Federico Fellini
Federico Fellini
(1987) Ingmar Bergman
Ingmar Bergman
(1988) Alec Guinness
Guinness
(1989) Paul Fox (1990) Louis Malle
Louis Malle
(1991) John Gielgud
John Gielgud
(1992) David Plowright (1992) Sydney Samuelson (1993) Colin Young (1993) Michael Grade
Michael Grade
(1994) Billy Wilder
Billy Wilder
(1995) Jeanne Moreau
Jeanne Moreau
(1996) Ronald Neame
Ronald Neame
(1996) John Schlesinger
John Schlesinger
(1996) Maggie Smith
Maggie Smith
(1996) Woody Allen
Woody Allen
(1997) Steven Bochco
Steven Bochco
(1997) Julie Christie
Julie Christie
(1997) Oswald Morris (1997) Harold Pinter
Harold Pinter
(1997) David Rose (1997) Sean Connery
Sean Connery
(1998) Bill Cotton
Bill Cotton
(1998) Eric Morecambe
Eric Morecambe
& Ernie Wise
Ernie Wise
(1999) Elizabeth Taylor
Elizabeth Taylor
(1999) Michael Caine
Michael Caine
(2000) Stanley Kubrick
Stanley Kubrick
(2000) Peter Bazalgette
Peter Bazalgette
(2000)

2001–present

Albert Finney
Albert Finney
(2001) John Thaw
John Thaw
(2001) Judi Dench
Judi Dench
(2001) Warren Beatty
Warren Beatty
(2002) Merchant Ivory Productions (2002) Andrew Davies (2002) John Mills
John Mills
(2002) Saul Zaentz
Saul Zaentz
(2003) David Jason (2003) John Boorman
John Boorman
(2004) Roger Graef (2004) John Barry (2005) David Frost
David Frost
(2005) David Puttnam
David Puttnam
(2006) Ken Loach
Ken Loach
(2006) Anne V. Coates (2007) Richard Curtis
Richard Curtis
(2007) Will Wright (2007) Anthony Hopkins
Anthony Hopkins
(2008) Bruce Forsyth
Bruce Forsyth
(2008) Dawn French
Dawn French
& Jennifer Saunders
Jennifer Saunders
(2009) Terry Gilliam
Terry Gilliam
(2009) Nolan Bushnell
Nolan Bushnell
(2009) Vanessa Redgrave
Vanessa Redgrave
(2010) Shigeru Miyamoto
Shigeru Miyamoto
(2010) Melvyn Bragg
Melvyn Bragg
(2010) Christopher Lee
Christopher Lee
(2011) Peter Molyneux
Peter Molyneux
(2011) Trevor McDonald (2011) Martin Scorsese
Martin Scorsese
(2012) Rolf Harris
Rolf Harris
(2012) Alan Parker
Alan Parker
(2013) Gabe Newell
Gabe Newell
(2013) Michael Palin
Michael Palin
(2013) Helen Mirren
Helen Mirren
(2014) Rockstar Games
Rockstar Games
(2014) Julie Walters
Julie Walters
(2014) Mike Leigh
Mike Leigh
(2015) David Braben (2015) Jon Snow (2015) Sidney Poitier
Sidney Poitier
(2016) John Carmack
John Carmack
(2016) Ray Galton & Alan Simpson (2016) Mel Brooks
Mel Brooks
(2017) Joanna Lumley
Joanna Lumley
(2017) Ridley Scott
Ridley Scott
(2018)

v t e

Film Society of Lincoln Center
Film Society of Lincoln Center
Gala Tribute Honorees

Charlie Chaplin
Charlie Chaplin
(1972) Fred Astaire
Fred Astaire
(1973) Alfred Hitchcock
Alfred Hitchcock
(1974) Joanne Woodward
Joanne Woodward
and Paul Newman
Paul Newman
(1975) George Cukor
George Cukor
(1978) Bob Hope
Bob Hope
(1979) John Huston
John Huston
(1980) Barbara Stanwyck
Barbara Stanwyck
(1981) Billy Wilder
Billy Wilder
(1982) Laurence Olivier
Laurence Olivier
(1983) Claudette Colbert
Claudette Colbert
(1984) Federico Fellini
Federico Fellini
(1985) Elizabeth Taylor
Elizabeth Taylor
(1986) Alec Guinness
Guinness
(1987) Yves Montand
Yves Montand
(1988) Bette Davis
Bette Davis
(1989) James Stewart
James Stewart
(1990) Audrey Hepburn
Audrey Hepburn
(1991) Gregory Peck
Gregory Peck
(1992) Jack Lemmon
Jack Lemmon
(1993) Robert Altman
Robert Altman
(1994) Shirley MacLaine
Shirley MacLaine
(1995) Clint Eastwood
Clint Eastwood
(1996) Sean Connery
Sean Connery
(1997) Martin Scorsese
Martin Scorsese
(1998) Mike Nichols
Mike Nichols
(1999) Al Pacino
Al Pacino
(2000) Jane Fonda
Jane Fonda
(2001) Francis Ford Coppola
Francis Ford Coppola
(2002) Susan Sarandon
Susan Sarandon
(2003) Michael Caine
Michael Caine
(2004) Dustin Hoffman
Dustin Hoffman
(2005) Jessica Lange
Jessica Lange
(2006) Diane Keaton
Diane Keaton
(2007) Meryl Streep
Meryl Streep
(2008) Tom Hanks
Tom Hanks
(2009) Michael Douglas
Michael Douglas
(2010) Sidney Poitier
Sidney Poitier
(2011) Catherine Deneuve
Catherine Deneuve
(2012) Barbra Streisand
Barbra Streisand
(2013) Rob Reiner
Rob Reiner
(2014) Robert Redford
Robert Redford
(2015) Morgan Freeman
Morgan Freeman
(2016) Robert De Niro
Robert De Niro
(2017) Helen Mirren
Helen Mirren
(2018)

v t e

Golden Globe Award for Best Director

Henry King (1943) Leo McCarey (1944) Billy Wilder
Billy Wilder
(1945) Frank Capra
Frank Capra
(1946) Elia Kazan
Elia Kazan
(1947) John Huston
John Huston
(1948) Robert Rossen
Robert Rossen
(1949) Billy Wilder
Billy Wilder
(1950) László Benedek (1951) Cecil B. DeMille
Cecil B. DeMille
(1952) Fred Zinnemann
Fred Zinnemann
(1953) Elia Kazan
Elia Kazan
(1954) Joshua Logan (1955) Elia Kazan
Elia Kazan
(1956) David Lean
David Lean
(1957) Vincente Minnelli
Vincente Minnelli
(1958) William Wyler
William Wyler
(1959) Jack Cardiff
Jack Cardiff
(1960) Stanley Kramer
Stanley Kramer
(1961) David Lean
David Lean
(1962) Elia Kazan
Elia Kazan
(1963) George Cukor
George Cukor
(1964) David Lean
David Lean
(1965) Fred Zinnemann
Fred Zinnemann
(1966) Mike Nichols
Mike Nichols
(1967) Paul Newman
Paul Newman
(1968) Charles Jarrott (1969) Arthur Hiller
Arthur Hiller
(1970) William Friedkin
William Friedkin
(1971) Francis Ford Coppola
Francis Ford Coppola
(1972) William Friedkin
William Friedkin
(1973) Roman Polanski
Roman Polanski
(1974) Miloš Forman
Miloš Forman
(1975) Sidney Lumet
Sidney Lumet
(1976) Herbert Ross (1977) Michael Cimino
Michael Cimino
(1978) Francis Ford Coppola
Francis Ford Coppola
(1979) Robert Redford
Robert Redford
(1980) Warren Beatty
Warren Beatty
(1981) Richard Attenborough
Richard Attenborough
(1982) Barbra Streisand
Barbra Streisand
(1983) Miloš Forman
Miloš Forman
(1984) John Huston
John Huston
(1985) Oliver Stone
Oliver Stone
(1986) Bernardo Bertolucci
Bernardo Bertolucci
(1987) Clint Eastwood
Clint Eastwood
(1988) Oliver Stone
Oliver Stone
(1989) Kevin Costner
Kevin Costner
(1990) Oliver Stone
Oliver Stone
(1991) Clint Eastwood
Clint Eastwood
(1992) Steven Spielberg
Steven Spielberg
(1993) Robert Zemeckis
Robert Zemeckis
(1994) Mel Gibson
Mel Gibson
(1995) Miloš Forman
Miloš Forman
(1996) James Cameron
James Cameron
(1997) Steven Spielberg
Steven Spielberg
(1998) Sam Mendes
Sam Mendes
(1999) Ang Lee
Ang Lee
(2000) Robert Altman
Robert Altman
(2001) Martin Scorsese
Martin Scorsese
(2002) Peter Jackson
Peter Jackson
(2003) Clint Eastwood
Clint Eastwood
(2004) Ang Lee
Ang Lee
(2005) Martin Scorsese
Martin Scorsese
(2006) Julian Schnabel
Julian Schnabel
(2007) Danny Boyle
Danny Boyle
(2008) James Cameron
James Cameron
(2009) David Fincher
David Fincher
(2010) Martin Scorsese
Martin Scorsese
(2011) Ben Affleck
Ben Affleck
(2012) Alfonso Cuarón
Alfonso Cuarón
(2013) Richard Linklater
Richard Linklater
(2014) Alejandro G. Iñárritu (2015) Damien Chazelle
Damien Chazelle
(2016) Guillermo del Toro
Guillermo del Toro
(2017)

v t e

Golden Globe Award for Best Supporting Actor – Motion Picture

Akim Tamiroff
Akim Tamiroff
(1943) Barry Fitzgerald
Barry Fitzgerald
(1944) J. Carrol Naish
J. Carrol Naish
(1945) Clifton Webb
Clifton Webb
(1946) Edmund Gwenn
Edmund Gwenn
(1947) Walter Huston
Walter Huston
(1948) James Whitmore
James Whitmore
(1949) Edmund Gwenn
Edmund Gwenn
(1950) Peter Ustinov
Peter Ustinov
(1951) Millard Mitchell
Millard Mitchell
(1952) Frank Sinatra
Frank Sinatra
(1953) Edmond O'Brien
Edmond O'Brien
(1954) Arthur Kennedy
Arthur Kennedy
(1955) Earl Holliman
Earl Holliman
(1956) Red Buttons
Red Buttons
(1957) Burl Ives
Burl Ives
(1958) Stephen Boyd
Stephen Boyd
(1959) Sal Mineo
Sal Mineo
(1960) George Chakiris
George Chakiris
(1961) Omar Sharif
Omar Sharif
(1962) John Huston
John Huston
(1963) Edmond O'Brien
Edmond O'Brien
(1964) Oskar Werner
Oskar Werner
(1965) Richard Attenborough
Richard Attenborough
(1966) Richard Attenborough
Richard Attenborough
(1967) Daniel Massey (1968) Gig Young
Gig Young
(1969) John Mills
John Mills
(1970) Ben Johnson (1971) Joel Grey
Joel Grey
(1972) John Houseman
John Houseman
(1973) Fred Astaire
Fred Astaire
(1974) Richard Benjamin
Richard Benjamin
(1975) Laurence Olivier
Laurence Olivier
(1976) Peter Firth
Peter Firth
(1977) John Hurt
John Hurt
(1978) Melvyn Douglas/ Robert Duvall
Robert Duvall
(1979) Timothy Hutton
Timothy Hutton
(1980) John Gielgud
John Gielgud
(1981) Louis Gossett Jr.
Louis Gossett Jr.
(1982) Jack Nicholson
Jack Nicholson
(1983) Haing S. Ngor
Haing S. Ngor
(1984) Klaus Maria Brandauer
Klaus Maria Brandauer
(1985) Tom Berenger
Tom Berenger
(1986) Sean Connery
Sean Connery
(1987) Martin Landau
Martin Landau
(1988) Denzel Washington
Denzel Washington
(1989) Bruce Davison
Bruce Davison
(1990) Jack Palance
Jack Palance
(1991) Gene Hackman
Gene Hackman
(1992) Tommy Lee Jones
Tommy Lee Jones
(1993) Martin Landau
Martin Landau
(1994) Brad Pitt
Brad Pitt
(1995) Edward Norton
Edward Norton
(1996) Burt Reynolds
Burt Reynolds
(1997) Ed Harris
Ed Harris
(1998) Tom Cruise
Tom Cruise
(1999) Benicio del Toro
Benicio del Toro
(2000) Jim Broadbent
Jim Broadbent
(2001) Chris Cooper
Chris Cooper
(2002) Tim Robbins
Tim Robbins
(2003) Clive Owen
Clive Owen
(2004) George Clooney
George Clooney
(2005) Eddie Murphy
Eddie Murphy
(2006) Javier Bardem
Javier Bardem
(2007) Heath Ledger
Heath Ledger
(2008) Christoph Waltz
Christoph Waltz
(2009) Christian Bale
Christian Bale
(2010) Christopher Plummer
Christopher Plummer
(2011) Christoph Waltz
Christoph Waltz
(2012) Jared Leto
Jared Leto
(2013) J. K. Simmons
J. K. Simmons
(2014) Sylvester Stallone
Sylvester Stallone
(2015) Aaron Taylor-Johnson
Aaron Taylor-Johnson
(2016) Sam Rockwell
Sam Rockwell
(2017)

v t e

Independent Spirit Award for Best Director

Joel Coen / Martin Scorsese
Martin Scorsese
(1985) Oliver Stone
Oliver Stone
(1986) John Huston
John Huston
(1987) Ramon Menendez (1988) Steven Soderbergh
Steven Soderbergh
(1989) Charles Burnett (1990) Martha Coolidge (1991) Carl Franklin
Carl Franklin
(1992) Robert Altman
Robert Altman
(1993) Quentin Tarantino
Quentin Tarantino
(1994) Mike Figgis
Mike Figgis
(1995) Joel Coen (1996) Robert Duvall
Robert Duvall
(1997) Wes Anderson
Wes Anderson
(1998) Alexander Payne
Alexander Payne
(1999) Ang Lee
Ang Lee
(2000) Christopher Nolan
Christopher Nolan
(2001) Todd Haynes
Todd Haynes
(2002) Sofia Coppola
Sofia Coppola
(2003) Alexander Payne
Alexander Payne
(2004) Ang Lee
Ang Lee
(2005) Jonathan Dayton and Valerie Faris
Jonathan Dayton and Valerie Faris
(2006) Julian Schnabel
Julian Schnabel
(2007) Tom McCarthy (2008) Lee Daniels
Lee Daniels
(2009) Darren Aronofsky
Darren Aronofsky
(2010) Michel Hazanavicius
Michel Hazanavicius
(2011) David O. Russell
David O. Russell
(2012) Steve McQueen (2013) Richard Linklater
Richard Linklater
(2014) Tom McCarthy (2015) Barry Jenkins
Barry Jenkins
(2016) Jordan Peele
Jordan Peele
(2017)

v t e

London Film Critics' Circle Award for Director of the Year

Nicolas Roeg
Nicolas Roeg
(1980) Andrzej Wajda
Andrzej Wajda
(1981) Costa-Gavras
Costa-Gavras
(1982) Andrzej Wajda
Andrzej Wajda
(1983) Neil Jordan
Neil Jordan
(1984) Roland Joffé
Roland Joffé
(1985) Akira Kurosawa
Akira Kurosawa
(1986) Stanley Kubrick
Stanley Kubrick
(1987) John Huston
John Huston
(1988) Terence Davies (1989) Woody Allen
Woody Allen
(1990) Ridley Scott
Ridley Scott
(1991) Robert Altman
Robert Altman
(1992) James Ivory
James Ivory
(1993) Steven Spielberg
Steven Spielberg
(1994) Peter Jackson
Peter Jackson
(1995) Joel Coen (1996) Curtis Hanson
Curtis Hanson
(1997) Peter Weir
Peter Weir
(1998) Sam Mendes
Sam Mendes
(1999) Spike Jonze
Spike Jonze
(2000) Alejandro González Iñárritu
Alejandro González Iñárritu
(2001) Phillip Noyce
Phillip Noyce
(2002) Clint Eastwood
Clint Eastwood
(2003) Martin Scorsese
Martin Scorsese
(2004) Ang Lee
Ang Lee
(2005) Paul Greengrass
Paul Greengrass
(2006) Paul Thomas Anderson
Paul Thomas Anderson
(2007) David Fincher
David Fincher
(2008) Kathryn Bigelow
Kathryn Bigelow
(2009) David Fincher
David Fincher
(2010) Michel Hazanavicius
Michel Hazanavicius
(2011) Ang Lee
Ang Lee
(2012) Alfonso Cuarón
Alfonso Cuarón
(2013) Richard Linklater
Richard Linklater
(2014) George Miller (2015) László Nemes
László Nemes
(2016) Sean Baker (2017)

v t e

National Society of Film Critics Award for Best Director

Michelangelo Antonioni
Michelangelo Antonioni
(1966) Ingmar Bergman
Ingmar Bergman
(1967) Ingmar Bergman
Ingmar Bergman
(1968) François Truffaut
François Truffaut
(1969) Ingmar Bergman
Ingmar Bergman
(1970) Bernardo Bertolucci
Bernardo Bertolucci
(1971) Luis Buñuel
Luis Buñuel
(1972) François Truffaut
François Truffaut
(1973) Francis Ford Coppola
Francis Ford Coppola
(1974) Robert Altman
Robert Altman
(1975) Martin Scorsese
Martin Scorsese
(1976) Luis Buñuel
Luis Buñuel
(1977) Terrence Malick
Terrence Malick
(1978) Woody Allen
Woody Allen
/ Robert Benton (1979) Martin Scorsese
Martin Scorsese
(1980) Louis Malle
Louis Malle
(1981) Steven Spielberg
Steven Spielberg
(1982) Paolo Taviani and Vittorio Taviani (1983) Robert Bresson (1984) John Huston
John Huston
(1985) David Lynch
David Lynch
(1986) John Boorman
John Boorman
(1987) Philip Kaufman
Philip Kaufman
(1988) Gus Van Sant
Gus Van Sant
(1989) Martin Scorsese
Martin Scorsese
(1990) David Cronenberg
David Cronenberg
(1991) Clint Eastwood
Clint Eastwood
(1992) Steven Spielberg
Steven Spielberg
(1993) Quentin Tarantino
Quentin Tarantino
(1994) Mike Figgis
Mike Figgis
(1995) Lars von Trier
Lars von Trier
(1996) Curtis Hanson
Curtis Hanson
(1997) Steven Soderbergh
Steven Soderbergh
(1998) Mike Leigh
Mike Leigh
(1999) Steven Soderbergh
Steven Soderbergh
(2000) Robert Altman
Robert Altman
(2001) Roman Polanski
Roman Polanski
(2002) Clint Eastwood
Clint Eastwood
(2003) Zhang Yimou
Zhang Yimou
(2004) David Cronenberg
David Cronenberg
(2005) Paul Greengrass
Paul Greengrass
(2006) Paul Thomas Anderson
Paul Thomas Anderson
(2007) Mike Leigh
Mike Leigh
(2008) Kathryn Bigelow
Kathryn Bigelow
(2009) David Fincher
David Fincher
(2010) Terrence Malick
Terrence Malick
(2011) Michael Haneke
Michael Haneke
(2012) Joel Coen and Ethan Coen (2013) Richard Linklater
Richard Linklater
(2014) Todd Haynes
Todd Haynes
(2015) Barry Jenkins
Barry Jenkins
(2016) Greta Gerwig
Greta Gerwig
(2017)

v t e

Films directed by John Huston

Films

The Maltese Falcon (1941) In This Our Life
In This Our Life
(1942) Across the Pacific
Across the Pacific
(1942) Report from the Aleutians (1943) The Battle of San Pietro (1945) Let There Be Light (1946) The Treasure of the Sierra Madre (1948) Key Largo (1948) We Were Strangers (1949) The Asphalt Jungle
The Asphalt Jungle
(1950) The Red Badge of Courage (1951) The African Queen (1951) Moulin Rouge (1952) Beat the Devil (1953) Moby Dick (1956) Heaven Knows, Mr. Allison
Heaven Knows, Mr. Allison
(1957) The Barbarian and the Geisha
The Barbarian and the Geisha
(1958) The Roots of Heaven (1958) The Unforgiven (1960) The Misfits (1961) Freud: The Secret Passion (1962) The List of Adrian Messenger
The List of Adrian Messenger
(1963) The Night of the Iguana (1964) The Bible: In the Beginning... (1966) Casino Royale (1967) Reflections in a Golden Eye (1967) Sinful Davey
Sinful Davey
(1969) A Walk with Love and Death
A Walk with Love and Death
(1969) The Kremlin Letter
The Kremlin Letter
(1970) Fat City (1972) The Life and Times of Judge Roy Bean
The Life and Times of Judge Roy Bean
(1972) The Mackintosh Man
The Mackintosh Man
(1973) The Man Who Would Be King (1975) Independence (1976) Wise Blood (1979) Phobia (1980) Victory (1981) Annie (1982) Under the Volcano (1984) Prizzi's Honor
Prizzi's Honor
(1985) The Dead (1987)

Related

Five Came Back (2017 documentary)

Authority control

WorldCat Identities VIAF: 114480829 LCCN: n78096855 ISNI: 0000 0001 2096 8885 GND: 118555014 SELIBR: 303032 SUDOC: 061749664 BNF: cb119080970 (data) BIBSYS: 90262165 NLA: 35215653 NDL: 01067643 NKC: mzk2004225248 ICCU: ITICCURAVV29452 BNE: XX1643464 SN

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