John Huston facts for kids
Quick facts for kids
John Huston
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Huston in Chinatown (1974)
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Born | Nevada, Missouri, U.S.
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5 August 1906
Died | 28 August 1987 Middletown, Rhode Island, U.S.
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(aged 81)
Resting place | Hollywood Forever Cemetery |
Occupation |
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Years active | 1930–1987 |
Spouse(s) |
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Partner(s) | Zoe Sallis |
Children | 5, including Anjelica, Tony, Danny, and Allegra Huston |
Parent(s) | Walter Huston Rhea Gore |
Awards | See list |
Military career | |
Allegiance | United States |
Service/ |
United States Army |
Years of service | 1942–46 |
Rank | Major |
Unit | Army Signal Corps |
Battles/wars | |
Awards |
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John Marcellus Huston (born August 5, 1906 – died August 28, 1987) was an American film director, screenwriter, and actor. He also enjoyed painting and was a visual artist. He wrote the scripts for most of the 37 movies he directed. Many of these films are now considered classics. These include The Maltese Falcon (1941) and The African Queen (1951).
During his 46-year career, Huston was nominated for 15 Academy Awards, winning twice. He also directed his father, Walter Huston, and his daughter, Anjelica Huston, to Oscar wins. This made the Hustons the first family to have three generations of Oscar winners.
In his younger years, Huston studied painting in Paris. He then moved to Mexico and started writing plays and short stories. Later, he became a screenwriter in Hollywood. His first movie as a director was The Maltese Falcon. It was a big success even though it had a small budget. He continued to be a successful director for 45 years.
Huston carefully planned his films. He would sketch each scene before filming, showing camera positions and lighting. Unlike many directors who rely on editing after filming, Huston created his movies as they were being shot. This meant less editing was needed later. Many of his films were based on famous novels. They often showed a "heroic quest" or groups of people struggling for a common goal. His movies explored themes like religion, truth, freedom, and war.
While he sometimes acted in small roles in his own films, he mostly worked behind the camera. In 1963, he acted in The Cardinal and was nominated for an Oscar for Best Supporting Actor. He continued to take important acting roles for the next 20 years. This included Chinatown (1974). He also used his deep voice as a voice actor and narrator in several films. His last two films, Prizzi's Honor (1985) and The Dead (1987), were nominated for many Academy Awards. He died shortly after finishing his last film.
John Huston was called a "titan" and a "rebel" in Hollywood. Author Ian Freer described him as "cinema's Ernest Hemingway" because he was "never afraid to tackle tough issues." He lived in France, Mexico, and Ireland at different times. He became an Irish citizen in 1964. Later, he returned to the U.S. He received a star on the Hollywood Walk of Fame in 1960.
Contents
- Early life and interests
- Starting a writing career
- Directing his first films
- The Maltese Falcon (1941)
- Army years during World War II
- The Treasure of the Sierra Madre (1948)
- Key Largo (1948)
- The Asphalt Jungle (1950)
- The Red Badge of Courage (1951)
- The African Queen (1951)
- Living in Ireland and later films
- Moby Dick (1956)
- The Misfits (1961)
- Freud: The Secret Passion (1962)
- The Night of the Iguana (1964)
- The Bible: In the Beginning (1966)
- Fat City (1972)
- The Man Who Would Be King (1975)
- Later films and final work
- As an actor
- Movie themes and directing style
- Personal life and death
- Filmography
- Awards and honors
- Images for kids
- See also
Early life and interests
John Huston was born on August 5, 1906, in Nevada, Missouri. He was the only child of Rhea Gore and Walter Huston. His father was an actor, first in vaudeville shows, then in movies. His mother was a sports editor.
John's parents divorced when he was six years old. He spent much of his childhood in boarding schools. During summer breaks, he traveled with his father on vaudeville tours. He also went with his mother to horse races and other sports events. Seeing his father act made young John interested in acting too.
As a child, Huston was often sick. He had problems with his heart and kidneys. He got better after spending a long time resting in bed in Arizona. Then he moved with his mother to Los Angeles. He went to Abraham Lincoln High School but left after two years. He wanted to become a professional boxer. By age 15, he was a top amateur lightweight boxer in California. He stopped boxing after breaking his nose.
Huston had many interests. These included ballet, English and French literature, opera, horseback riding, and studying painting. He studied painting at the Art Students League of Los Angeles. Living in Los Angeles, he became fascinated with the new film industry. He loved watching movies and thought Charlie Chaplin was amazing.
Huston later moved back to New York City to live with his father. He had a few small acting roles on stage. After a short time acting and having surgery, Huston traveled alone to Mexico. He spent two years there and even became an honorary member of the Mexican cavalry. He returned to Los Angeles and married Dorothy Harvey, a high school girlfriend. Their marriage lasted seven years.
Starting a writing career
While in Mexico, Huston wrote a play called Frankie and Johnny. It was based on a famous song. He sold it easily and decided that writing could be a good career. He felt even more confident when a popular magazine, American Mercury, bought two of his stories. Later, his stories were published in other magazines like Esquire and The New York Times.
In 1931, at age 25, he moved back to Los Angeles. He hoped to write for the growing film industry. Silent films were being replaced by "talkies," so writers were in high demand. His father had already found success in movies there.
Huston got a job writing scripts for Universal Studios. He started by writing dialogue for films in 1932. These included Murders in the Rue Morgue and Law and Order. His father, Walter Huston, starred in some of these films.
Huston described his first years as a writer in Hollywood as "misadventures and disappointments." His early writing career in Hollywood ended suddenly. An actress died in a car accident while Huston was driving. A jury said he was not to blame, but the event deeply affected him. He moved to London and Paris and lived as a "drifter."
By 1937, Huston returned to Hollywood wanting to be a "serious writer." He married Lesley Black. He started working as a scriptwriter for Warner Brothers Studio. His goal was to direct his own scripts. For the next four years, he co-wrote scripts for big films like Jezebel and Sergeant York (1941). He was nominated for Academy Awards for his screenplays for these films.
Huston was known as a respected screenwriter. He convinced Warner Brothers to let him direct. The studio agreed, but only if his next script was a hit. His next script was High Sierra (1941). It became the hit he needed. This film also helped make Humphrey Bogart a star. Warner Brothers kept their promise and let Huston choose his first directing project.
Directing his first films
The Maltese Falcon (1941)
For his first directing job, Huston chose The Maltese Falcon. This detective story by Dashiell Hammett had failed twice before as movies. But studio head Jack L. Warner liked Huston's ideas for the film.
Huston kept the script very close to the original book. He used much of Hammett's dialogue. He directed it in a clear, simple style, like the book's story. He prepared for his first directing job by sketching every shot beforehand. This included where the camera would be and how the lighting would look.
He chose a great cast, giving Humphrey Bogart the main role. Bogart enjoyed working with Huston. The cast also included Mary Astor, Peter Lorre, and Sydney Greenstreet. His own father, Walter Huston, was also in the film. The movie had a small budget and little advertising. Warner Brothers did not expect much from it. The whole film was made in eight weeks for only $300,000.
The studio was surprised by how much the public and critics loved the film. Many called it a "classic" and the "best detective melodrama ever made." Huston was nominated for an Academy Award for the screenplay. After this film, Huston directed almost all of his own scripts. In 1942, he directed two more successful films: In This Our Life and Across the Pacific, both starring Humphrey Bogart.
Army years during World War II
In 1942, Huston joined the United States Army during World War II. He made films for the Army Signal Corps. As a captain, he directed three films about the war. Some critics say these are among the best war films ever made. They include Report from the Aleutians (1943) and The Battle of San Pietro (1945). His film Let There Be Light (1946) was about soldiers with psychological injuries. The Army censored and hid this film for 35 years.
Huston was promoted to major. He received the Legion of Merit award for his "courageous work under battle conditions." All of his Army films were "controversial." They were either not released, censored, or banned. This was because they were seen as "demoralizing" to soldiers and the public. Years later, his daughter, Anjelica Huston, remembered watching his war documentaries.
The Treasure of the Sierra Madre (1948)
Huston's next film was The Treasure of the Sierra Madre (1948). He wrote, directed, and had a small role in it. This film helped make him known as a top filmmaker. The movie starred Humphrey Bogart. It told the story of three drifters who search for gold. Huston also gave a supporting role to his father, Walter Huston.
Warners studio was unsure about the film at first. Huston filmed it on location in Mexico, which was unusual then. Studio boss Jack L. Warner "detested it" at first. But the film soon received wide praise from the public and critics. Time magazine called it "one of the best things Hollywood has done." Huston won Oscars for Best Director and Best Adapted Screenplay. His father won for Best Supporting Actor. The film also won other awards.
Key Largo (1948)
Also in 1948, Huston directed Key Largo. It again starred Humphrey Bogart. The story was about a veteran who fights gangsters on a remote Florida island. It also starred Lauren Bacall, Claire Trevor, and Edward G. Robinson. The film was based on a play. Some felt it was too much like a stage play. But the "outstanding performances" by the actors saved the film. Claire Trevor won an Oscar for best supporting actress. Huston was upset that the studio cut scenes without his permission. This, and other disagreements, made Huston leave the studio when his contract ended.
The Asphalt Jungle (1950)
In 1950, he wrote and directed The Asphalt Jungle. This film was new because it showed criminals as somewhat relatable characters. Huston paid "deep attention" to the plot, which involved a large jewelry theft. He showed every small detail and difficulty the characters faced. Some critics felt Huston made it seem almost like a documentary.
Film critic Andrew Sarris called it "Huston's best film." He also said it made Marilyn Monroe a recognized actress. Sarris noted that many of Huston's films have a similar theme: "His main characters almost always fail at what they try to do." This theme was also in Treasure of the Sierra Madre.
The film starred Sterling Hayden and Sam Jaffe. Marilyn Monroe had her first important role in this movie. Huston said it was where "Marilyn Monroe got her start." Monroe felt Huston was a genius. She said he made her feel important when she was filming. The film was a success. Huston was again nominated for an Oscar for best screenplay and best director.
The Red Badge of Courage (1951)
Huston's next film, The Red Badge of Courage (1951), was very different. It was about war and its effect on soldiers. While in the army, he became interested in Stephen Crane's novel about the American Civil War. For the main role, Huston chose World War II hero Audie Murphy. Murphy played a young soldier who runs away from fear but later returns to fight.
MGM worried the movie seemed too anti-war for the time. Without Huston's approval, they cut the film from 88 minutes to 69. They added narration and removed a scene Huston thought was very important. The movie did not do well at the box office. Huston thought it was because it "brought war very close to home." Despite the cuts and weak public response, film historian Michael Barson called it "a minor masterpiece."
The African Queen (1951)
Before The Red Badge of Courage was released, Huston was already filming The African Queen (1951) in Africa. It was based on C. S. Forester's popular novel. It starred Humphrey Bogart and Katharine Hepburn. It was a mix of romance, comedy, and adventure. Barson called it "one of the most popular Hollywood movies of all time."
The film's producer, Sam Spiegel, asked Huston to change the ending. He wanted the main characters to survive instead of dying. Huston agreed. It became Huston's most successful film financially. It is still considered one of his best works. Huston was nominated for two Academy Awards: Best Director and Best Adapted Screenplay. Bogart won his only Oscar for Best Actor for his role.
Hepburn wrote a book about her experiences filming the movie.
Living in Ireland and later films
In 1952, Huston moved to Ireland. He was upset by the "witch-hunt" against suspected communists in Hollywood. This was led by the House Committee on Un-American Activities (HCUA). Many of his friends in the movie industry were affected. Huston and his friends formed a group to protest these investigations.
Moby Dick (1956)
Huston produced, wrote, and directed his next two films: Moulin Rouge (1952) and Beat the Devil (1953). Moby Dick (1956) was written by Ray Bradbury. Huston had his name added to the screenplay credit.
Huston had planned to film Herman Melville's Moby-Dick for ten years. He first thought his father, Walter Huston, would be great as Captain Ahab. After his father died in 1950, Huston chose Gregory Peck for the role. The movie was filmed over three years in Ireland, where Huston was living. A fishing village was built for the film. Three large, fake whales were made from steel, wood, and plastic. In the movie, Huston's voice was used for another actor's character. But the film did not do well at the box office. Critics felt it lacked the "mysticism of the book."
The Misfits (1961)
Of Huston's next five films, only The Misfits (1961) received good reviews. Critics have noted a sad feeling of "doom" around the film. Clark Gable, the star, died a few weeks after filming. Marilyn Monroe never finished another film and died a year later. Costars Montgomery Clift and Thelma Ritter also died within the next decade. During filming, Monroe sometimes took prescribed drugs, which made her late to set. She also forgot her lines. Monroe's personal problems led to the end of her marriage to the scriptwriter, Arthur Miller, during filming. Huston later said, "Marilyn was on her way out. Not only of the picture, but of life."
Freud: The Secret Passion (1962)
After The Misfits, Huston made Freud: The Secret Passion. This film was very different from his others. He also narrated parts of the story. Film historian Stuart M. Kaminsky noted that Huston showed Sigmund Freud, played by Montgomery Clift, as a "savior."
The Night of the Iguana (1964)
For his next film, Huston went to Puerto Vallarta, Mexico. He met an architect who owned land there. The Night of the Iguana was filmed in a beach cove called Mismaloya. Huston adapted the play by Tennessee Williams. The film starred Richard Burton and Ava Gardner. It was nominated for several Academy Awards. The filming attracted a lot of media attention. This was because Burton brought his famous girlfriend, Elizabeth Taylor, to Puerto Vallarta. Huston liked the town so much that he bought a house nearby.
The Bible: In the Beginning (1966)
Producer Dino De Laurentis asked Huston to direct The Bible: In the Beginning. Huston enjoyed directing this film because he loved animals. Besides directing, he also played Noah and the voice of God. The Bible earned a lot of money. However, it was very expensive to make, so the studio lost some money.
Fat City (1972)
After a few films that were not well-received, Huston made a comeback with Fat City. It was based on a 1969 novel. The story was about an older boxer trying to restart his career. It also showed a young amateur boxer trying to succeed. The film was nominated for several awards. It starred Stacy Keach, a young Jeff Bridges, and Susan Tyrrell. She was nominated for an Oscar. Roger Ebert said Fat City was one of Huston's best films.
The Man Who Would Be King (1975)
The Man Who Would Be King was one of Huston's most highly praised films of the 1970s. It was a success with both critics and audiences. Huston had planned to make this film since the 1950s. He originally wanted Humphrey Bogart and Clark Gable for the main roles. Eventually, Sean Connery and Michael Caine starred. The movie was filmed in North Africa. It was praised for being old-fashioned and entertaining. Steven Spielberg said this film helped inspire his movie Raiders of the Lost Ark.
Later films and final work
After The Man Who Would Be King, Huston took his longest break from directing. He returned with Wise Blood (1979). This film was based on a unique novel. Here, Huston showed his skill as a storyteller and his bravery in tackling difficult topics like religion.
Under the Volcano (1984) was Huston's last film set in Mexico. It starred Albert Finney as an ambassador during the start of World War II. Critics highly praised the film, especially Finney's acting.
The Dead (1987) was John Huston's final film. It was based on a classic short story by James Joyce. This film was very personal for Huston because he was an Irish citizen and loved classic literature. Huston directed most of the film from a wheelchair. He needed an oxygen tank to breathe during the last months of his life. The film was nominated for two Academy Awards and received great reviews. Roger Ebert added it to his list of "Great Movies." Huston died almost four months before the film was released. His daughter, Anjelica Huston, said that making this film was very important to her father. She believes it was his "love letter to Ireland and the Irish."
As an actor
Earlier in his career, Huston played small roles in his own films. For example, he was an unnamed rich American in The Treasure of the Sierra Madre. Later, he started taking bigger roles in films directed by others. In 1963, director Otto Preminger asked him to play a cardinal in The Cardinal. He was nominated for an Academy Award for Best Supporting Actor for this role.
He also acted in Roman Polanski's Chinatown (1974) as the main villain. He played John Hay, President Teddy Roosevelt's secretary of state, in The Wind and the Lion. Huston enjoyed acting but said he did not take it too seriously. He was most proud of his acting in Chinatown. He also enjoyed acting in Winter Kills. He played the Lawgiver in Battle for the Planet of the Apes.
Huston is also famous for being the voice of the wizard Gandalf. He voiced Gandalf in the animated movies The Hobbit (1977) and The Return of the King (1980).
Huston played the main role in Orson Welles's last finished film, The Other Side of the Wind. In it, he played an aging filmmaker. This film was not released until 2018 due to problems.
Movie themes and directing style
Huston's films often showed deep insights into human nature. They sometimes included scenes that seemed to predict environmental issues that became known later. Examples are The Misfits and The Night of the Iguana (1964).
According to film historian Stuart M. Kaminsky, Huston's stories were often about "failed quests." A group of different people would try to achieve a goal, even when the odds were against them. They were often doomed from the start. However, some members of the group usually survived. These were the "cool" and "intelligent" ones, or those who would "sacrifice everything for self-understanding."
Another common theme in Huston's films was a pair of potential lovers facing a difficult world. However, he often avoided happy endings, which was different from many Hollywood films. Film historian James Goodwin added that almost all his films had some kind of "heroic quest." This quest was often seen as better than a boring, meaningless life.
Critics Tony Tracy and Roddy Flynn noted that Huston was interested in the "human condition" more than just making movies. He used literature to explore this. In many of his films, he explored big ideas of the 20th century. These included faith, truth, freedom, and war.
Film writer Peter Flint said Huston filmed efficiently. He did not shoot many extra scenes like some directors. He also edited carefully so that financial backers could not easily cut scenes. Huston filmed most of his movies on location. He worked hard six days a week. On Sundays, he played poker with the cast and crew.
Kaminsky believes Huston's visual style came from his early experience as a painter in Paris. He studied art there for a year and a half. Huston continued painting as a hobby throughout his life. Many of his films showed his interest in images, moving portraits, and using color. He used "stylistic framing" and well-planned close-ups. For his first film, The Maltese Falcon, he sketched all his scenes beforehand, like paintings. His daughter, Anjelica Huston, remembered him constantly sketching storyboards. She said he had a very strong "sensory quality."
Personal life and death
Producer George Stevens, Jr. said Huston represented "intellect, charm and physical grace" in the film industry. He was very charismatic and had a soothing voice.
Huston loved the outdoors and hunting, especially when he lived in Ireland. Before becoming a Hollywood filmmaker, he was an amateur boxer, reporter, writer, artist, and cavalry rider in Mexico. He also made documentaries during World War II. Besides sports and adventure, he enjoyed strong drinks and relationships with women. Stevens described him as someone who "lived life to its fullest."
His daughter, Anjelica Huston, said he did not like Hollywood. He especially disliked Beverly Hills, thinking it was "fake." She noted that "he liked to be in the wild places; he liked animals as much as he liked people."
Huston married five times. He adopted a son, Pablo, in Mexico with his third wife, Evelyn Keyes. With his fourth wife, Enrica Soma, he had two children: Tony and Anjelica Huston. During this marriage, he also had a son, Danny Huston, with author Zoe Sallis. Danny later became an actor. In his autobiography, Huston said he regretted his fifth marriage.
His friends included Orson Welles and Ernest Hemingway. Humphrey Bogart was one of his best friends. Huston gave the speech at Bogart's funeral.
Huston bought and restored a home in County Galway, Ireland. He became an Irish citizen in 1964. His daughter Anjelica went to school in Ireland. A film school at NUI Galway is now named after him.
Huston was a talented painter. He wrote in his autobiography that painting played a very important role in his life. He painted throughout his life and had art studios in his homes. He owned a large collection of art.
Huston was a heavy smoker. In 1978, he was diagnosed with emphysema, a lung disease. By the last year of his life, he needed oxygen to breathe for more than 20 minutes. He died on August 28, 1987, at age 81. He passed away from pneumonia, a complication of his lung disease. Huston is buried in the Hollywood Forever Cemetery with his mother.
Filmography
Year | Title | Functioned as | Notes | ||
---|---|---|---|---|---|
Director | Writer | Producer | |||
1941 | The Maltese Falcon | Yes | Yes | No | |
1942 | In This Our Life | Yes | No | No | |
Across the Pacific | Yes | No | No | Replaced for the last two weeks of filming by Vincent Sherman | |
1948 | The Treasure of the Sierra Madre | Yes | Yes | No | |
Key Largo | Yes | Yes | No | Co-writer with Richard Brooks | |
1949 | We Were Strangers | Yes | Yes | Yes | Co-writer with Peter Viertel |
1950 | The Asphalt Jungle | Yes | Yes | Yes | Co-writer with Ben Maddow |
1951 | The Red Badge of Courage | Yes | Yes | No | Co-writer with Albert Band |
The African Queen | Yes | Yes | Yes | Co-writer with James Agee | |
1952 | Moulin Rouge | Yes | Yes | Yes | Co-writer with Anthony Veiller |
1953 | Beat the Devil | Yes | Yes | No | Co-writer with Truman Capote |
1956 | Moby Dick | Yes | Yes | No | Co-writer with Ray Bradbury |
1957 | Heaven Knows, Mr. Allison | Yes | Yes | Yes | Co-writer with John Lee Mahin |
1958 | The Barbarian and the Geisha | Yes | No | No | |
The Roots of Heaven | Yes | No | No | ||
1960 | The Unforgiven | Yes | No | No | |
1961 | The Misfits | Yes | No | Yes | |
1962 | Freud: The Secret Passion | Yes | No | No | |
1963 | The List of Adrian Messenger | Yes | No | No | |
1964 | The Night of the Iguana | Yes | Yes | No | Co-writer with Anthony Veiller |
1966 | The Bible: In the Beginning... | Yes | No | No | |
1967 | Reflections in a Golden Eye | Yes | No | Yes | |
Casino Royale | Yes | No | No | Co-director with Ken Hughes, Joseph McGrath, Robert Parrish & Val Guest | |
1969 | Sinful Davey | Yes | No | Yes | |
A Walk with Love and Death | Yes | No | Yes | ||
1970 | The Kremlin Letter | Yes | Yes | Yes | Co-writer with Gladys Hill |
1972 | Fat City | Yes | No | Yes | |
The Life and Times of Judge Roy Bean | Yes | No | No | ||
1973 | The Mackintosh Man | Yes | No | Yes | |
1975 | The Man Who Would Be King | Yes | Yes | No | Co-writer with Gladys Hill |
1976 | Independence | Yes | No | No | Short film |
1979 | Wise Blood | Yes | No | No | |
1980 | Phobia | Yes | No | No | |
1981 | Escape to Victory | Yes | No | No | |
Let There Be Light | Yes | No | No | Documentary, uncredited; completed 1946-48 | |
1982 | Annie | Yes | No | No | |
1984 | Under the Volcano | Yes | No | No | |
1985 | Prizzi's Honor | Yes | No | No | |
1987 | The Dead | Yes | No | No |
As screenwriter only
Year | Title | Director | Notes |
---|---|---|---|
1930 | The Storm | William Wyler | Co-writer with Charles Logue, Langdon McCormick, Tom Reed & Wells Root |
1931 | A House Divided | Co-writer with John B. Clymer, Olive Edens & Dale Van Every | |
1932 | Murders in the Rue Morgue | Robert Florey | Co-writer with Tom Reed & Dale Van Every |
Law and Order | Edward L. Cahn | Co-writer with Tom Reed & Richard Schayer | |
1935 | Death Drives Through | Co-writer with Katherine Strueby & Gordon Wellesley | |
It Happened in Paris | Robert Wyler | Co-writer with Katherine Strueby & H. F. Maltby | |
1938 | The Amazing Dr. Clitterhouse | Anatole Litvak | Co-writer with John Wexley |
Jezebel | William Wyler | Co-writer with Clements Ripley, Abem Finkel & Robert Buckner | |
1939 | Juarez | William Dieterle | Co-writer with Aeneas MacKenzie & Wolfgang Reinhardt |
1940 | Dr. Ehrlich's Magic Bullet | Co-writer with Norman Burnstine & Heinz Herald | |
1941 | High Sierra | Raoul Walsh | Co-writer with W. R. Burnett |
Sergeant York | Howard Hawks | Co-writer with Abem Finkel, Harry Chandler & Howard Koch | |
1946 | The Killers | Robert Siodmak | Uncredited rewrites |
Three Strangers | Jean Negulesco | Co-writer with Howard Koch | |
The Stranger | Orson Welles | Uncredited rewrites | |
1988 | Mr. North | Danny Huston | Co-writer with Janet Roach & James Costigan |
As an actor
Year | Title | Role | Notes |
---|---|---|---|
1948 | The Treasure of the Sierra Madre | Man in White Suit | Uncredited |
1949 | We Were Strangers | Señor Muñoz | |
1956 | Moby Dick | Ship's Lookout | |
1962 | Freud: The Secret Passion | Narrator (voice) | |
The List of Adrian Messenger | Lord Ashton | ||
1963 | The Cardinal | Cardinal Lawrence Glennon | |
1966 | The Bible: In the Beginning | Noah / God / Narrator (voice) | |
The Legend of Marilyn Monroe | Narrator (voice) | ||
1967 | Casino Royale | M | |
1968 | Candy | Dr. Arnold Dunlap | |
1969 | De Sade | The Abbe | |
A Walk with Love and Death | Robert the Elder | ||
1970 | The Kremlin Letter | Admiral | |
Myra Breckinridge | Buck Loner | ||
1971 | The Bridge in the Jungle | Sleigh | |
The Deserter | General Miles | ||
Man in the Wilderness | Captain Henry | ||
1972 | The Life and Times of Judge Roy Bean | Grizzly Adams | |
1973 | Battle for the Planet of the Apes | The Lawgiver | |
1974 | Chinatown | Noah Cross | |
1975 | Breakout | Harris Wagner | |
The Wind and the Lion | Secretary of State John Hay | ||
1976 | Sherlock Holmes in New York | Professor Moriarty | |
1977 | The Rhinemann Exchange | Ambassador Henderson Granville | TV miniseries |
Tentacles | Ned Turner | ||
The Hobbit | Gandalf (voice) | ||
Angela | Hogan | ||
1978 | The Greatest Battle | Sean O'Hara | |
The Bermuda Triangle | Edward Marvin | ||
The Word | Nathan Randall | TV miniseries | |
1979 | The Visitor | Jerzy Colsowicz | |
Winter Kills | Pa Kegan | ||
Wise Blood | Grandfather | ||
Jaguar Lives! | Ralph Richards | ||
1980 | The Return of the King | Gandalf (voice) | TV movie |
Head On | Clarke Hill | ||
1982 | Cannery Row | Narrator (voice) | |
Annie | Actor on Radio | Uncredited | |
1983 | Lovesick | Larry Geller, M.D. | |
A Minor Miracle | Father Cardenas | ||
1984 | Epic | Narrator (voice) | US version only |
1985 | Alfred Hitchcock Presents | Carlos / Narrator (voice) | TV series; Episode: "Pilot" |
The Black Cauldron | Narrator (voice) | ||
1986 | Momo | Meister Hora | |
1987 | Mister Corbett's Ghost | The Collector | TV movie |
2018 | The Other Side of the Wind | Jake Hannaford | Filmed between 1974 and 1975 |
Awards and honors
John Huston received 15 Oscar nominations. He is the oldest person ever nominated for Best Director. This was for Prizzi's Honor (1985) when he was 79 years old. 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. He also got the Career Achievement Award from the U.S. National Board of Review of Motion Pictures in 1984.
Huston has a special honor: he directed both his father, Walter, and his daughter, Anjelica, in Oscar-winning performances. Walter won for The Treasure of the Sierra Madre, and Anjelica won for Prizzi's Honor. This made the Hustons the first family to have three generations of Academy Award winners. He also directed Anjelica in Sinful Davey in 1969.
He also directed 13 other actors who were nominated for Oscars. These include Humphrey Bogart, Katharine Hepburn, and Jack Nicholson.
In 1960, Huston received a star on the Hollywood Walk of Fame. This was for his contributions to movies. In 1965, he received the Laurel Award for Screenwriting Achievement from the Writers Guild of America. In 1981, his film Escape to Victory was nominated for the Golden Prize at the 12th Moscow International Film Festival. A statue of Huston, sitting in his director's chair, stands in Plaza John Huston in Puerto Vallarta, Mexico.
Major association awards
Academy Awards
Year | Work | Category | Result |
---|---|---|---|
1941 | Dr. Ehrlich's Magic Bullet | Best Writing, Original Screenplay | Nominated |
1942 | The Maltese Falcon | Best Writing, Screenplay | Nominated |
Sergeant York | Best Writing, Original Screenplay | Nominated | |
1949 | The Treasure of the Sierra Madre | Best Director | Won |
Best Writing, Screenplay | Won | ||
1951 | The Asphalt Jungle | Best Director | Nominated |
Best Writing, Screenplay | Nominated | ||
1952 | The African Queen | Best Director | Nominated |
Best Writing, Screenplay | Nominated | ||
1953 | Moulin Rouge | Best Director | Nominated |
1958 | Heaven Knows, Mr. Allison | Best Writing, Screenplay Based on Material from Another Medium | Nominated |
1964 | The Cardinal | Best Supporting Actor | Nominated |
1976 | The Man Who Would Be King | Best Writing, Screenplay Adapted From Other Material | Nominated |
1986 | Prizzi's Honor | Best Director | Nominated |
Golden Globes
Year | Work | Category | Result |
---|---|---|---|
1949 | The Treasure of the Sierra Madre | Best Director | Won |
1951 | The Asphalt Jungle | Nominated | |
Best Screenplay | Nominated | ||
1963 | Freud | Best Director | Nominated |
1964 | The Cardinal | Best Supporting Actor | Won |
1965 | The Night of the Iguana | Best Director | Nominated |
1975 | Chinatown | Best Supporting Actor | Nominated |
1986 | Prizzi's Honor | Best Director | Won |
BAFTA Awards
Year | Work | Category | Result |
---|---|---|---|
1975 | Chinatown | Best Supporting Actor | Nominated |
1980 | N/A | BAFTA Fellowship | Won |
Independent Spirit Awards
Year | Work | Category | Result |
---|---|---|---|
1988 | The Dead | Best Director | Won |
Critics awards
Year | Association | Work | Category | Result |
---|---|---|---|---|
1948 | New York Film Critics Circle | The Treasure of the Sierra Madre | Best Director | Won |
National Board of Review | Best Screenplay | Won | ||
1950 | New York Film Critics Circle | The Asphalt Jungle | Best Director | Nominated |
National Board of Review | Best Director | Won | ||
1952 | New York Film Critics Circle | The African Queen | Best Director | Nominated |
1956 | Moby Dick | Won | ||
Best Screenplay | Nominated | |||
National Board of Review | Best Director | Won | ||
1974 | Kansas City Film Critics Circle | Chinatown | Best Supporting Actor | Won |
1979 | Los Angeles Film Critics Association | N/A | Career Achievement Award | Won |
1984 | National Board of Review | N/A | Career Achievement Award | Won |
1985 | New York Film Critics Circle | Prizzi's Honor | Best Director | Won |
1986 | Boston Society of Film Critics | Best Director | Won | |
National Society of Film Critics | Best Director | Won | ||
1987 | New York Film Critics Circle | The Dead | Best Director | Nominated |
1988 | National Society of Film Critics | Best Director | Nominated | |
1989 | French Syndicate of Cinema Critics | Best Foreign Film | Won | |
London Film Critics' Circle | Director of the Year | Won |
Film festivals
Year | Festival | Work | Category | Result |
---|---|---|---|---|
1948 | Venice Film Festival | The Treasure of the Sierra Madre | Grand International Award | Nominated |
1950 | The Asphalt Jungle | Golden Lion | Nominated | |
1953 | Moulin Rouge | Nominated | ||
Silver Lion | Won | |||
1963 | Berlin International Film Festival | Freud | Golden Bear | Nominated |
1979 | Chicago International Film Festival | Wise Blood | Gold Hugo | Nominated |
San Sebastián International Film Festival | Golden Shell | Nominated | ||
1981 | Moscow International Film Festival | Victory | Golden Prize | Nominated |
1984 | Cannes Film Festival | Under the Volcano | Palme d’Or | Nominated |
1985 | Venice Film Festival | Prizzi's Honor | Golden Lion | Nominated |
Golden Ciak | Won | |||
N/A | Special Lion for the Overall Work | Won | ||
1987 | Tokyo International Film Festival | The Dead | Tokyo Grand Prix | Nominated |
Special Achievement Award | Won |
Guild awards
Year | Guild | Work | Category | Result |
---|---|---|---|---|
1949 | Writers Guild of America | The Treasure of the Sierra Madre | Best Written American Drama | Nominated |
Best Written Western | Won | |||
Key Largo | Best Written American Drama | Nominated | ||
1951 | Directors Guild of America | The Asphalt Jungle | Outstanding Directorial Achievement in Motion Pictures | Nominated |
Writers Guild of America | The Robert Meltzer Award | Nominated | ||
Best Written American Drama | Nominated | |||
1953 | Moulin Rouge | Best Written Drama | Nominated | |
1957 | Directors Guild of America | Moby Dick | Outstanding Directorial Achievement in Motion Pictures | Nominated |
1958 | Heaven Knows, Mr. Allison | Nominated | ||
Writers Guild of America | Best Written Drama | Nominated | ||
1962 | Directors Guild of America | The Misfits | Outstanding Directorial Achievement in Motion Pictures | Nominated |
1963 | Freud | Nominated | ||
1964 | Writers Guild of America | N/A | Laurel Award for Screenwriting Achievement | Won |
1965 | Directors Guild of America | The Night of the Iguana | Outstanding Directorial Achievement in Motion Pictures | Nominated |
Writers Guild of America | Best Written Drama | Nominated | ||
1976 | The Man Who Would Be King | Best Drama Adapted from Another Medium | Nominated | |
1983 | Directors Guild of America | N/A | Lifetime Achievement Award – Feature Film | Won |
1986 | Prizzi's Honor | Outstanding Directorial Achievement in Motion Pictures | Nominated |
Other awards
Year | Association | Work | Category | Result |
---|---|---|---|---|
1957 | Italian National Syndicate of Film Journalists | Moby Dick | Best Foreign Film | Won |
1966 | Accademia del Cinema Italiano | The Bible | Best Foreign Director | Won |
1979 | The Recording Academy | The Hobbit | Best Recording for Children | Nominated |
1981 | Society of Camera Operators | N/A | Governors' Award | Won |
1983 | Golden Raspberry Award Foundation | Annie | Worst Director | Nominated |
American Film Institute | N/A | Life Achievement Award | Won | |
1986 | Italian National Syndicate of Film Journalists | Prizzi's Honor | Best Foreign Director | Nominated |
Accademia del Cinema Italiano | Best Foreign Director | Nominated | ||
1988 | Cahiers du Cinéma | The Dead | Annual Top 10 Lists | 3rd Place |
Accademia del Cinema Italiano | Best Foreign Director | Nominated | ||
Best Foreign Film | Nominated | |||
1989 | Bodil Awards | The Dead | Bodil Award for Best Non-European Film | Won |
Images for kids
See also
In Spanish: John Huston para niños