[1948.2] The Treasure Of The Sierra Madre

I will be watching all 5 nominees from 1948 before I move on to the next year. The goal here is to watch them and have an internal discussion among them to try to piece together a “history” of the year. Let’s get to it. 

Ages ago, someone coined the pseudo-genre “neo-western,” for movies like The Treasure Of The Sierra Madre. For decades, Hollywood had romanticized the concept of the old west – the sense of adventure, the wonderment of Manifest Destiny and the cynical beauty of not knowing the source of one’s next meal – without question. As time has passed, so has the fascination with the western genre; we’re more interested in character and plot analysis over setting and mood. It’s become commonplace to, in 2014, fantasize about both eras with an offhanded air. But as we watch ’40s westerns almost 3 generations later, we have to reserve judgement as most of those who grew up fantasizing about cowboydom are long gone and what we’re left with is film and television caricature. What John Huston and Humphrey Bogart accomplish in The Treasure Of The Sierra Madre is both an homage to the old west and a look forward to modern film – a neo-western.

Most of The Treasure Of The Sierra Madre‘s conflict is internal – the pithy dialogue among the three main prospectors shows as much about their nurture as it does their nature. Yes, they’re all romping around the Sierra Madre mountains looking to get rich – but why? For one, it’s wealth for wealth’s sake; for another, it’s to achieve a childhood goal; for a the third, it’s to occupy his time, and seemingly, to learn about other people’s motives. He often assumes the role of moderator, helping cool the direct aggression from Bogart’s Fred C. Dobbs to the reactionary Bob Curtin (played by Lou Holt). But he’s also the cause of the aggression, constantly questioning the motives of what they’re all doing trolling for cash. As a result, paranoia often haunts the day and night activities of these three men, shown through various levels of trustworthiness, second-guessing and external and internal threats. Sprinkled within the campfire quarrels and gold-digging, the writer/director John Huston (who casts his father, Walter, in some kind of lucky nepotism) creates minor external conflict to strikingly exemplify a character’s internal motivations. It’s a neo-western: the conflict very western – the constant threat of bandits or dehydration or a deadly desert creature – but the handling is unintentionally modern, instead of facing the threat directly, the characters have lengthy (if occasionally forced) conversations discussions musing on how they’d handle bandits or what constitutes enough for the three of them.  Continue reading