John Huston, 1960s
|Born||John Marcellus Huston
August 5, 1906
Nevada, Missouri, U.S.
|Died||August 28, 1987
Middletown, Rhode Island, U.S.
|Cause of death||Emphysema|
|Occupation||Film director, screenwriter, actor|
|Spouse(s)||Dorothy Harvey (1925–1926; divorced)
Lesley Black (1937–1945; divorced)
Evelyn Keyes (1946–1950; divorced)
Enrica Soma (1950–1969; her death)
Celeste Shane (1972–1977; divorced)
|Children||Anjelica, Tony, Danny, Pablo, Allegra (adopted)|
John Marcellus Huston (August 5, 1906 – August 28, 1987) was an American film director, screenwriter and actor. 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), Key Largo (1948), The Asphalt Jungle (1950), The African Queen (1951), Moulin Rouge (1952), The Misfits (1961), 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. In addition, while most directors rely on post-production editing to shape their final work, Huston instead created his films while they were being shot, making his films both more economical and more 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 themes also involved some of the "grand narratives" of the twentieth century, 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."
Early life 
John Huston was born on August 5, 1906, in Nevada, Missouri. He was the only child of Reah (née Gore) and Canadian-born Walter Huston. His father, who was of Scots and Scots-Irish descent, was an actor, initially in vaudeville, and later in films. His mother, of English and Welsh background, 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.
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. Some critics, such as Lawrence Groble, surmise that his relationship with his mother may have been the cause for why he married five times, and why few of his relationships lasted. Groble writes, "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." 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."
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 Lincoln Heights High School. He dropped out of high school after two years in order to become a professional boxer, and by the age of 15 was already a top-ranking amateur lightweight boxer in California. He soon ended his brief boxing career after suffering a broken nose. 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 was a god."
He moved back to New York to live with his father, who was then acting in off-Broadway productions, and he obtained a few small roles. From watching his father rehearse, he remembers 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.
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. But their marriage only lasted a year.
Early career as writer 
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. 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.
Huston gained a reputation as a "lusty, hard-drinking libertine" during his first years as a writer in Hollywood. 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 a young female pedestrian. 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."
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 and Sergeant York (1941). He was nominated for an 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 had a triumph playing the young mountaineer.":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.
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 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.
Screenwriter and director 
The Maltese Falcon (1941) 
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 Warner approved of Huston's treatment of Hammett's 1930 novel, as he stood by his word to let Huston choose his first subject.
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.
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 (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. The entire film was made in eight weeks for only $300,000.
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." Herald Tribune critic Howard Barnes called it a "triumph." Huston again received an 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). 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 
In 1942 he was activated by the U.S. Army to work with the Army Signal Corps as a captain, in order to act as a filmmaker. While in uniform, 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 (1944), the story (censored by the Army) of a failure by America's intelligence agencies which resulted in many deaths, and Let There Be Light (1945), about psychologically damaged veterans, also censored for 35 years, until 1981. He rose to the rank of major and received the Legion of Merit award for "courageous work under battle conditions." 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. Years later, after moving to Ireland, his daughter, actress Anjelica Huston, recalled that the "main movies we watched were the war documentaries.":10
Upon returning to Hollywood once the war was over, he co-wrote the film, The Stranger (1946), although he was not credited. The film was directed and produced by Orson Welles, who also acted the part of a Nazi war criminal who manages to settle in New England under an assumed name.
The Treasure of the Sierra Madre (1948) 
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 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 called it "one of the most beautiful and visually alive movies I have ever seen." Time magazine described it as "one of the best things Hollywood has done since it learned to talk." 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 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 and Sam Peckinpah can be said to have remade it again and again ... without compromising its uniqueness.
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, and Edward G. Robinson. 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 won an Oscar for best supporting actress. 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.
The Asphalt Jungle (1950) 
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", or what Huston calls "a left-handed form of human endeavor.":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.
Film critic Andrew Sarris considered it to be "Huston's best film", and the film that made 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." 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 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 got her start.":177 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 Award. It would subsequently become a model for many similar movies by other filmmakers.
The Red Badge of Courage (1951) 
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 novel of the same title. For the starring role, Huston chose World War II hero 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.
The movie did poorly at the box office. Huston suggests that it was possibly because it "brought war very close to home." 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." Despite the "butchering" and weak public response, film historian Michael Barson describes the movie as "a minor masterpiece."
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 and Katharine Hepburn in a combination of romance, comedy and adventure. Barson calls it "one of the most popular Hollywood movies of all time." 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." Huston was nominated for two Academy Awards—best director and best screenplay. Bogart, however, won an Oscar for best actor, his first time winning.
HUAC period 
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 and screenwriter Philip Dunne, established the "Committee for the First Amendment", as a response to the on-going government investigations into communists within the film industry. The HUAC was calling numerous filmmakers, screenwriters, and actors to testify about any past affiliations.
Moby Dick (1956) 
Huston took producing, writing, and directing credits for his next two films: Moulin Rouge (1953); 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 would later play the role based on John Huston when "Banshee" was adapted into an episode of Ray Bradbury Theater.
Huston had been planning to film Herman Melville's 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 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 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."
The Misfits (1961) 
Of his next five films, only The Misfits (1961), found critical approval. 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 before the filming was completed; Marilyn Monroe never did another film and died a year later; and costars Montgomery Clift and 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." Huston later commented about this period in her career: "Marilyn was on her way out. Not only of the picture, but of life."
Freud: the Secret Passion (1962) 
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 as a "kind of hero or God on a quest for mankind":
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 looms as the single huge figure in that field.
The Night of the Iguana (1964) 
For his next film, Huston once again traveled down to Mexico. He adapted the stage play by Tennessee Williams. The film stars Richard Burton and Ava Gardner, and was nominated for several Academy Awards. Production attracted much attention, due to Burton bringing his wife Elizabeth Taylor to Mexico. Huston liked the town where filming took place so much, he bought a house there.
The Bible: In the Beginning (1966) 
Producer 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 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. 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 scratches the elephant's belly and walks away, and the elephant pulls him back to her time after time.:317
Fat City (1972) 
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. About an aging, washed-up alcoholic boxer in 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 stated Fat City as one of Huston's best films, giving it four out of four stars, his highest rating.
The Man Who Would Be King (1975) 
Perhaps Huston's most highly regarded film of the 1970s, The Man Who Would Be King (film) was both a critical and commercial success. Huston had been planning to make this film since the 50's, originally with his friends Humphrey Bogart and Clark Gable. Eventually the lead roles went to 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 has cited the film as one of his inspirations for his film Raiders of the Lost Ark.
Wise Blood (1979) 
After filming The Man Who Would Be King, Huston took his longest break between directing films. He returned with the 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) 
Huston's last film set in Mexico stars 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) 
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 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.
As an actor 
Toward the end of his career he also began to act in various films. In 1963, director Otto Preminger asked if he would portray a Boston prelate in The Cardinal, and, writes author Philip Kemp, he "virtually stole the picture." He was nominated for an 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 central corrupt businessman, and as Teddy Roosevelt's advisor 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."
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. 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 stories as the voice of the wizard Gandalf in the Rankin/Bass animated adaptations of The Hobbit (1977) and The Return of the King (1980).
Movie themes 
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. 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 in Freud.
Another type of quest often seen in Huston's films involve a pair of potential lovers trying to face a hostile world. Flint adds, however, that he "bucked Hollywood's penchant for happy endings", and many of his stories ended with "love unsatisfied".
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". 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".
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".: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". 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." 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.
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. 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". 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." 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."
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."
Directing techniques 
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. 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."
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."
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." 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". His daughter, 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.":20
Awards and honors 
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 (1985). 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.
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 and William Hickey.
Personal life 
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."
Huston loved the outdoors, especially sports such as hunting while living in Ireland. He claimed that he had no orthodox religion.: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". 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".
His daughter, 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.":20
He was married five times:
- Dorothy Harvey — This marriage lasted 7 years and ended in 1933.
- 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.
- Evelyn Keyes — The Hustons adopted a son Pablo, from Mexico.
- Enrica Soma — They had two children: a daughter, Anjelica Huston, and a son, Walter Antony "Tony" Huston, now an attorney and who is 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.
Huston visited Ireland in 1951 and stayed at Luggala, County Wicklow, the home of Garech Browne, a member of the 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 Hunt – the famous "Galway Blazers" – whose kennels are at Craughwell. He renounced his U.S. citizenship and became an Irish citizen in 1964. His daughter Anjelica attended school in Ireland at Kylemore Abbey for a number of years. A film school is now dedicated to him on the NUIG campus.
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.
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. He died on August 28, 1987 in Middletown, Rhode Island from pneumonia as a complication of lung disease in his rented home. Huston is interred in the Hollywood Forever Cemetery in Hollywood, California.
- The Storm 1930 — Dir: William Wyler (written with Charles Logue, Langdon McCormick, Tom Reed, and Wells Root)
- A House Divided 1931 — Dir: William Wyler (written with John B. Clymer, Olive Edens, and Dale Van Every)
- Murders in the Rue Morgue 1932 — Dir: Robert Florey (written with Tom Reed, and Dale Van Every)
- The Amazing Dr. Clitterhouse 1938 — Dir: Anatole Litvak (written with John Wexley)
- Jezebel 1938 — Dir: William Wyler (written with Clements Ripley, Abem Finkel, and Robert Buckner)
- High Sierra 1941 — Dir: Raoul Walsh (written with W.R. Burnett)
- The Maltese Falcon 1941 — Dir: Huston
- Sergeant York 1941 — Dir: Howard Hawks (written with Abem Finkel, Harry Chandler, and Howard Koch)
- The Killers 1946 — Dir: Robert Siodmak (written with Anthony Veiller)
- Three Strangers 1946 — Dir: Jean Negulesco (written with Howard Koch)
- The Treasure of the Sierra Madre 1948 — Dir: Huston
- Key Largo 1948 — Dir: Huston (written with Richard Brooks)
- We Were Strangers 1949 — Dir: Huston (written with Peter Viertel)
- The African Queen 1951 — Dir: Huston (written with James Agee)
- Moulin Rouge 1952 — Dir: Huston (written with Anthony Veiller)
- Beat the Devil 1953 — Dir: Huston (written with Truman Capote)
- Moby Dick 1956 — Dir: Huston (written with Ray Bradbury)
- Heaven Knows, Mr. Allison 1957 — Dir: Huston (written with John Lee Mahin)
- The Night of the Iguana 1964 — Dir: Huston (written with Anthony Veiller)
- The Man Who Would Be King 1975 — Dir: Huston (written with Gladys Hill)
- Mr. North 1988 — Dir: Danny Huston (written with Janet Roach and James Costigan)
Does not include films which he also directed
- The Cardinal (1963, dir: Otto Preminger)
- Candy (1968, director: Christian Marquand)
- Rocky Road to Dublin (Documentary) (as Interviewee, 1968, director: Peter Lennon)
- De Sade (1969, dir: Cy Endfield)
- Myra Breckinridge (1970, dir: Michael Sarne)
- The Deserter (1971, dir: Burt Kennedy)
- Man in the Wilderness (1971, dir: Richard C. Sarafian)
- The Bridge in the Jungle (1971)
- Rufino Tamayo: The Sources of his Art (documentary) (1972, dir: Gary Conklin)
- Battle for the Planet of the Apes (1973, dir: J. Lee Thompson)
- Chinatown (1974, dir: Roman Polanski)
- Breakout (1975)
- The Wind and the Lion (1975, dir: John Milius)
- Tentacles (1977, dir: Ovidio G. Assonitis)
- The Hobbit (1977, dir: Arthur Rankin, Jr., Jules Bass)
- The Greatest Battle (1978, dir: Umberto Lenzi)
- The Bermuda Triangle (1978, dir: René Cardona, Jr.)
- Angela (1978, dir: Boris Sagal)
- The Visitor (1979, dir: Giulio Paradisi)
- Winter Kills (1979, dir: William Richert)
- Head On (1980)
- The Return of the King (1980, dir: Jules Bass, Arthur Rankin, Jr.)
- Cannery Row (1982, narrator)
- A Minor Miracle (1983, dir: Raoul Lomas)
- Notes from Under the Volcano (documentary) (as himself, 1984, dir: Gary Conklin)
- Lovesick (1984, dir: Marshall Brickman)
- The Black Cauldron (1985) Narrator
- Momo (1986, dir: Johannes Schaaf)
- Mister Corbett's Ghost (TV) (as Soul Collector, 1987, dir: Danny Huston)
- Freer, Ian. Moviemakers Quercus (2009) pp. 70–71
- Flint, Peter. "John Huston, Film Director, Writer and Actor, Dies at 81" New York Times, Aug. 29, 1987
- Grobel, Lawrence. The Art of the Interview: Lessons from a Master of the Craft, Random House (2004)
- Wakeman, John. (Ed.) World Film Directors, Vol. I, 1890–1945, New York, The H. W. Wilson Co. (1987) pp. 485–493
- Goodwin, James; Morsberger, Robert E. (editor) American Screenwriters, Gale Research Co. (1984) pp. 164–171
- Huston, John. An Open Book, New York. Alfred A. Knopf (1980)
- Tracy, Tony; Flynn, Roddy. John Huston: Essays on a Restless Director, McFarland (2010)
- Sarris, Andrew. The American Cinema: Directors and Directions, 1929–1968 Dutton (1968) pp. 156–158
- Stevens, George Jr. Conversations with the Great Moviemakers of Hollywood's Golden Age, New York. Alfred A. Knopf (2006) pp. 335=355
- Barson, Michael. The Illustrated Who's Who of Hollywood Directors, Vol 1: The Sound Era Noonday Press (1995) pp. 208–215
- Ray Bradbury: An American Icon
- Kaminsky, Stuart M. International Dictionary of Films and Filmmakers: Directors 3rd ed., St. James Press (1997) pp. 459–463
- "Fat City :: rogerebert.com :: Reviews". January 1, 1972. Unknown parameter
- Long, Robert Emmet John Huston: Interviews (Conversations with Filmmakers) (2001) p. 178
- Life magazine, August 4, 1972, p. 69
- Ebert, Roger. Chicago Sun-Times, film review, January 1, 1972.
- "12th Moscow International Film Festival (1981)". MIFF. Retrieved 2013-01-27.
- Lieber et al. 2007, p. 468.
- Greensfelder & Read 2006, p. 64–65.
- "Running Around in High Circles". The New York Times.
- "Veteran Film Producer Becomes Irish Citizen". Spokane Daily Chronicle. 1964-01-03. Retrieved 2012-05-14.
- "It's Sean Huston Now". St. Petersburg Times. 1964-01-04. Retrieved 2012-05-14.
- Art by Directors, Karl French, Granta 86, 2004, ISBN 0-903141-69-8
- "John Huston Is Not Well But He`s Very Much Alive - Chicago Tribune". Articles.chicagotribune.com. 1987-03-12. Retrieved 2013-03-03.
- "Actor John Huston Warns Others About Emphysema With PM-Obit-Huston Bjt". Apnewsarchive.com. 1987-08-29. Retrieved 2013-03-03.
- John Huston at the Internet Movie Database
- They Shoot Pictures, Don't They?
- Literature on John Huston