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The Cinema of John Huston

The Cinema of John Huston

The retrospective the Torino Film Festival 2010 dedicated to John Huston, was an important time to celebrate a figure quite forgotten (just look at the scarcity of its titles on DVD) and is instead a key element in the transition from classical Hollywood to modern. It is no coincidence, in fact, already the announcement of the retrospective, the first comments were focused primarily on point out the weaknesses of the filmography of the author and the famous compromises artistic and production that led to controversial works as The Bible or Casino Royale .

Instead, as often happens, there is much more merit and should be given to Turin to have finished in this way on a journey that began under the direction of the house before and after Turigliatto-Vallan, was able to x-ray well the path beaten by American cinema through its history and the more recent past (the thought is of course addressed to the previous retrospectives on John Carpenter, George Romero, Walter Hill, Robert Aldrich to Nicholas Ray in 2009, but we must not forget also the tributes to Anthony Mann, Budd Boetticher and John Ford). Who has been a spectator in Turin in the last ten years, in short, could get an idea of \u200b\u200bthe much enlarged bodies that moved the American cinema throughout its history.

John Huston, then, is a figure in this process is the focus, director of genuinely two periods, able to score so much that Hollywood classic of the seventies and eighties. The most interesting aspect, however, is as already noted in his classic films were in modern reality. Not only the strength of the themes that often cross those compromises typical of commercial studio system, revealing a vision in black is not common for mass-market products. Just think of the wonderful parable of greed that is The Treasure of the Sierra Madre , the concentration of the magnificent obsessive Moby Dick. But also for purely stylistic and iconic. Huston was in fact great use of the actors, is seen as a symbolic body, authentic filmic signs that their presence was able to "communicate" more of the same stories that were involved, both as a flexible figure, to shape it . We think the sensitivity of Audrey Hepburn, turned in the problematic nature of the hybrid in the western The Unforgiven , or alcoholic Flynn all'Errol de The Roots of Heaven, cowardly character in the adventure genre that also gave him fame. And so gradually progressing to the discovery and use of acting talent to come, as John Hurt, Michael Caine, Sylvester Stallone.

But probably the ultimate Huston face remains that of Humphrey Bogart, the director uses an incredible wisdom, often using his iconic role in contrary to that narrative. It is a good example, Sam The mystery of the swords of hawk, as the tradition of the brilliant detective detective story, but also chiaroscuro figure, at ease among the intrigue of history and very little inclined to regret the death of his colleague from which the story unfolds . But still it is worth noting the use of the plaintiff in the above-mentioned The Treasure of the Sierra Madre, where he became the conduit for the deep pessimism that the director with respect to the possibilities of man to accept an ideal of sharing. The history of cinema and the American Society for Huston is made of individualism, of people who follow their own rules and that they are almost always misaligned with respect to their world, so that their stories are often walks of life along the road that will lead them to understand their discomfort and their congenital unhappiness (think of Toulouse Lautrec Moulin Rouge ).

As a result, Huston was also a theorist, a person aware of the capabilities inherent in the story in pictures and in fact, here lies the modernity of his films. Also in the works of the classical period, it follows a documentary style for the image, which is accompanied by a high voltage to the first floor, with characters who are one step away from applying directly to the camera, as it will be in the works maturity (Think of the incomparable The man from the seven halters ). All this without considering the work of composition, taking account of the author's pictorial past.

But this must not think of a director or staid leaning didactic burdens on the contrary, the size of Houston is ironic in light which often lets his subjects, the porosity of a film that knows how to bend at different instances and is often able to let leak even under dramatic irony. A figure indeed fascinated and curious about the possibilities offered by narrative contexts, so that sometimes the stories behind the workings of the film are no less grandiose than those that led to the final film. And sometimes it can also be unsettling in their contradiction: we animality of the aforementioned The Roots of Heaven, it seems that Huston wanted to continue to shoot in Africa and an elephant hunt ...! The exact opposite of what he wants his hero. Follow individual rules, in short, for he was not just a cinematic theme.

Interview with John Huston in 1982 (in English)

John Huston on IMDB

John Huston on Wikipedia