list http://www.spout.com/ Recent community activity around The Treasure of the Sierra Madre on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/The_Treasure_of_the_Sierra_Madre/35820/default.aspx Title: The Treasure of the Sierra Madre
Year: 1948
Director: John Huston
Plot: John Huston's 1948 treasure-hunt classic begins as drifter Fred C. Dobbs (Humphrey Bogart), down and out in Tampico, Mexico, impulsively spends his last bit of dough on a lottery ticket. Later on, Dobbs and fellow indigent Curtin (Tim Holt) seek shelter in a cheap flophouse and meet Howard (Walter Huston), a toothless, garrulous old coot who regales them with stories about prospecting for gold. Forcibly collecting their pay from their shifty boss, Dobbs and Curtin combine this money with Dobbs's unexpected windfall from a lottery ticket and, together with Howard, buy the tools for a prospecting expedition. Dobbs has pledged that anything they dig up will be split three ways, but Howard, who's heard that song before, doesn't quite swallow this. As the gold is mined and measured, Dobbs grows increasingly paranoid and distrustful, and the men gradually turn against each other on the way toward a bitterly ironic conclusion. The Treasure of the Sierra Madre is a superior morality play and one of the best movie treatments of the corrosiveness of greed. Huston keeps a typically light and entertaining touch despite the strong theme, for which he won Oscars for both Director and Screenplay, as well as a supporting award for his father Walter, making Walter, John, and Anjelica Huston the only three generations of one family all to win Oscars. ~ Hal Erickson, All Movie Guide
Times Tagged: 19
Number of Lists: 26
Number of blog posts: 5
Number of discussion threads: 5
SpoutRating: 4
]]>Tue, 12 May 2009 02:43:02 GMTThe Treasure of the Sierra Madre1948John Huston<a href="/players/P____95260/default.aspx" style='text-decoration:underline'>John Huston</a>'s 1948 treasure-hunt classic begins as drifter Fred C. Dobbs (<a href="/players/P_____7027/default.aspx" style='text-decoration:underline'>Humphrey Bogart</a>), down and out in Tampico, Mexico, impulsively spends his last bit of dough on a lottery ticket. Later on, Dobbs and fellow indigent Curtin (<a href="/players/P____33051/default.aspx" style='text-decoration:underline'>Tim Holt</a>) seek shelter in a cheap flophouse and meet Howard (<a href="/players/P____34142/default.aspx" style='text-decoration:underline'>Walter Huston</a>), a toothless, garrulous old coot who regales them with stories about prospecting for gold. Forcibly collecting their pay from their shifty boss, Dobbs and Curtin combine this money with Dobbs's unexpected windfall from a lottery ticket and, together with Howard, buy the tools for a prospecting expedition. Dobbs has pledged that anything they dig up will be split three ways, but Howard, who's heard that song before, doesn't quite swallow this. As the gold is mined and measured, Dobbs grows increasingly paranoid and distrustful, and the men gradually turn against each other on the way toward a bitterly ironic conclusion. The Treasure of the Sierra Madre is a superior morality play and one of the best movie treatments of the corrosiveness of greed. Huston keeps a typically light and entertaining touch despite the strong theme, for which he won Oscars for both Director and Screenplay, as well as a supporting award for his father Walter, making Walter, John, and <a href="/players/P____34131/default.aspx" style='text-decoration:underline'>Anjelica Huston</a> the only three generations of one family all to win Oscars. ~ Hal Erickson, All Movie Guide19Tag Target (>10)26554http://www.spout.com/ProductImages/t33787sy53c.jpghttp://www.spout.com/films/The_Treasure_of_the_Sierra_Madre/35820/default.aspxFilm http://www.spout.com/groups/Filmgaming/Re_APPALOOSA_DVD_Giveaway/563/39411/1/ShowPost.aspx Post By: Tenenbaums
Post To: Filmgaming
Post Date: 1/12/2009 2:11:18 PM
Body: I'd like to see Treasure of the Sierra Madre remade because it would be a perfect vehicle for Christopher Walken.
]]>Mon, 12 Jan 2009 19:11:18 GMTTenenbaumsFilmgaming1/12/2009 2:11:18 PMI'd like to see Treasure of the Sierra Madre remade because it would be a perfect vehicle for Christopher Walken. http://www.spout.com/blogs/pippin06/archive/2008/10/26/36677.aspx Post By: pippin06
Post To: Reel Thoughts
Post Date: 10/26/2008 12:55:59 PM
Body: What's the AFI Project, you ask? For more information, or if you just enjoy my bemused ramblings, read here: http://www.spout.com/blogs/pippin06/archive/2008/3/1/25756.aspx The Treasure of the Sierra Madre is on the following AFI lists: The Original Top 100 (#30)100 Most Heart-Pounding Movies (#67)100 Movie Quotes (#36 - Gold Hat: "Badges? We ain't got no badges! We don't need no badges! I don't have to show you any stinking badges!")The Revised Top 100 (#38) I watched The Treasure of the Sierra Madre instantly on Netflix a week ago but have not had the time or the energy (thanks to the killer flu of 2008) to blog about it until just now. I also haven't known exactly what to say. This was my second viewing of this film; I watched it a first time some years ago but didn't remember it very well going into it this time. I'm not sure why. It's a superbly executed story, exploring some heady themes such as the seed of evil and the effects of greed in man, but it's just not a film I can say I love, which is probably why I forgot most of it. That's not an indictment of the film as much as it is a theory as to any bias I might have. This film marks Humphrey Bogart's fourth and final entry on the original AFI list and Director John Huston's second film (after The Maltese Falcon). Bogie was clearly one of Huston's muses; they made several films together. This film was a bit unique, in that Bogie played something of a cad. There are no true heroes or villains given that there is rampant moral ambiguity and various shades of human weakness, as it pertains to greed, being examined. Bogie plays Fred C. Dobbs, a down-on-his-luck drifter who seems to be marooned in Tampico, Mexico (this film was predominantly shot on location there, making it one of the first films to be shot at least partially outside of a studio). He begs from the same man (a cameo by Mr. Huston) a few times for money to eat and sleep and buys a partial lottery ticket from a pushy villager boy. He meets another drifter, Curtin (Tim Holt), and while the two are spending the night in a cheap flophouse, they meet Howard (Walter Huston, John's pop), a toothless old man who regales them with tales of wealth and riches while prospecting for gold. After the two friends try working, only to be cheated by their shifty boss, from whom they have to forcibly obtain their earnings, and after "Dobbsy" wins on his lottery ticket, the two get it into their heads that they want to try prospecting for gold themselves. They convince Howard, the expert, to go along with them, and while Howard hesitates, knowing gold's effect on some men and not fully believing Dobbs' promise that the loot will be split evenly, he agrees. They choose the largely untainted Sierra Madre mountains as their digging site and set out to make their fortunes despite the dangers of bandits, desert animals like gila monsters, and each other to contend with. As story put to film (the screenplay was adapted from a novel of the same name), it's one of the best executed visual tales, including a bittersweet, ironic ending that is its own bit of perfection. Mr. Huston, Jr. kept the pacing tight and made wonderful use of light and shadow to accentuate some particularly intense moments. This film is also an entry on the AFI's thriller list and for good reason - this film is kind of nail-bitingly intense in spots, owing to Mr. Huston's feel for the story and bead on its characters. The scene when Dobbs, who grows increasingly paranoic and suspicious, finally manifests his lust for gold and paranoia into physical aggression is particularly well shot, with the shadows highlighting or underscoring Dobbs' internal and external struggles perfectly. The performances were also all very good. Bogie's was probably the least convincing relatively speaking, only because his character had some sudden and erratic mood swings that sometimes seemed out of the blue. Then again, Dobbs was probably the most challenging character to portray as the poster child for "the seed of evil in men" theme. On the flip side, Tim Holt as Curtin offered a wonderful, nuanced performance as the antithesis character to Dobbs. His strength, quiet dignity, and sincerity were believable and engaging. Walter Huston, who won a Supporting Oscar, was also an enjoyable watch, never making the "old coot" character truly outlandish or offputting. In fact, he became the superego to Dobbs' id and Curtin's ego. The technical elements were also well utilized to paint this intense picture of the effects of greed. Despite my praises, though, I feel I don't love the film possibly because the tale is so dark, possibly because it's a western (my least favorite genre, really), and possibly because this film was one of those that percolate slowly until they reach an all-consuming boil. None of these are complaints from my end, but I think they are what prevent me from thinking this was the greatest film ever, even if they are my own personal biases. I do have one small complaint about the film, however, which is how cartoonish the Mexican characters were sometimes painted. It served the story, but it definitely dates the film because some of these portrayals would probably not pass modern muster as far as politlcal correctness goes. It's a small, predictable gripe, and the native characters weren't always given such a wash, but it happened enough times that I noticed it. Of course, if it weren't for for at least one of these portrayals, the world may not have caught on quite so famously to the lines about not needing "any stinking badges." In any event, I find The Treasure of the Sierra Madre to be a hard film to rate. I think I need to rate it an 8.5, between minor flaws/very good and perfectly entertaining, given my thoughts and possible biases, but that's still a high rating on my behalf for a well made film. As to tests, I don't see it passing. As you can tell, though I find the film a deserved entry in the Great American Film lexicon based on its filmmaking cred, I feel sort of blase about it in the end, even after two viewings. It's just not one of those films I find myself getting into, but I think many viewers would get into it because it's an excellent film with a great story. If you're a fan of westerns, at any rate, this film is a must-see, and Bogie is a joy to watch in any film he was in because he was simply a consummate actor.
]]>Sun, 26 Oct 2008 16:55:59 GMTpippin06Reel Thoughts10/26/2008 12:55:59 PMWhat's the AFI Project, you ask? For more information, or if you just enjoy my bemused ramblings, read here: http://www.spout.com/blogs/pippin06/archive/2008/3/1/25756.aspx The Treasure of the Sierra Madre is on the following AFI lists: The Original Top 100 (#30)100 Most Heart-Pounding Movies (#67)100 Movie Quotes (#36 - Gold Hat: "Badges? We ain't got no badges! We don't need no badges! I don't have to show you any stinking badges!")The Revised Top 100 (#38) I watched The Treasure of the Sierra Madre instantly on Netflix a week ago but have not had the time or the energy (thanks to the killer flu of 2008) to blog about it until just now. I also haven't known exactly what to say. This was my second viewing of this film; I watched it a first time some years ago but didn't remember it very well going into it this time. I'm not sure why. It's a superbly executed story, exploring some heady themes such as the seed of evil and the effects of greed in man, but it's just not a film I can say I love, which is probably why I forgot most of it. That's not an indictment of the film as much as it is a theory as to any bias I might have. This film marks Humphrey Bogart's fourth and final entry on the original AFI list and Director John Huston's second film (after The Maltese Falcon). Bogie was clearly one of Huston's muses; they made several films together. This film was a bit unique, in that Bogie played something of a cad. There are no true heroes or villains given that there is rampant moral ambiguity and various shades of human weakness, as it pertains to greed, being examined. Bogie plays Fred C. Dobbs, a down-on-his-luck drifter who seems to be marooned in Tampico, Mexico (this film was predominantly shot on location there, making it one of the first films to be shot at least partially outside of a studio). He begs from the same man (a cameo by Mr. Huston) a few times for money to eat and sleep and buys a partial lottery ticket from a pushy villager boy. He meets another drifter, Curtin (Tim Holt), and while the two are spending the night in a cheap flophouse, they meet Howard (Walter Huston, John's pop), a toothless old man who regales them with tales of wealth and riches while prospecting for gold. After the two friends try working, only to be cheated by their shifty boss, from whom they have to forcibly obtain their earnings, and after "Dobbsy" wins on his lottery ticket, the two get it into their heads that they want to try prospecting for gold themselves. They convince Howard, the expert, to go along with them, and while Howard hesitates, knowing gold's effect on some men and not fully believing Dobbs' promise that the loot will be split evenly, he agrees. They choose the largely untainted Sierra Madre mountains as their digging site and set out to make their fortunes despite the dangers of bandits, desert animals like gila monsters, and each other to contend with. As story put to film (the screenplay was adapted from a novel of the same name), it's one of the best executed visual tales, including a bittersweet, ironic ending that is its own bit of perfection. Mr. Huston, Jr. kept the pacing tight and made wonderful use of light and shadow to accentuate some particularly intense moments. This film is also an entry on the AFI's thriller list and for good reason - this film is kind of nail-bitingly intense in spots, owing to Mr. Huston's feel for the story and bead on its characters. The scene when Dobbs, who grows increasingly paranoic and suspicious, finally manifests his lust for gold and paranoia into physical aggression is particularly well shot, with the shadows highlighting or underscoring Dobbs' internal and external struggles perfectly. The performances were also all very good. Bogie's was probably the least convincing relatively speaking, only because his character had some sudden and erratic mood swings that sometimes seemed out of the blue. Then again, Dobbs was probably the most challenging character to portray as the poster child for "the seed of evil in men" theme. On the flip side, Tim Holt as Curtin offered a wonderful, nuanced performance as the antithesis character to Dobbs. His strength, quiet dignity, and sincerity were believable and engaging. Walter Huston, who won a Supporting Oscar, was also an enjoyable watch, never making the "old coot" character truly outlandish or offputting. In fact, he became the superego to Dobbs' id and Curtin's ego. The technical elements were also well utilized to paint this intense picture of the effects of greed. Despite my praises, though, I feel I don't love the film possibly because the tale is so dark, possibly because it's a western (my least favorite genre, really), and possibly because this film was one of those that percolate slowly until they reach an all-consuming boil. None of these are complaints from my end, but I think they are what prevent me from thinking this was the greatest film ever, even if they are my own personal biases. I do have one small complaint about the film, however, which is how cartoonish the Mexican characters were sometimes painted. It served the story, but it definitely dates the film because some of these portrayals would probably not pass modern muster as far as politlcal correctness goes. It's a small, predictable gripe, and the native characters weren't always given such a wash, but it happened enough times that I noticed it. Of course, if it weren't for for at least one of these portrayals, the world may not have caught on quite so famously to the lines about not needing "any stinking badges." In any event, I find The Treasure of the Sierra Madre to be a hard film to rate. I think I need to rate it an 8.5, between minor flaws/very good and perfectly entertaining, given my thoughts and possible biases, but that's still a high rating on my behalf for a well made film. As to tests, I don't see it passing. As you can tell, though I find the film a deserved entry in the Great American Film lexicon based on its filmmaking cred, I feel sort of blase about it in the end, even after two viewings. It's just not one of those films I find myself getting into, but I think many viewers would get into it because it's an excellent film with a great story. If you're a fan of westerns, at any rate, this film is a must-see, and Bogie is a joy to watch in any film he was in because he was simply a consummate actor. http://www.spout.com/blogs/unclefestering/archive/2008/5/8/28342.aspx Post By: unclefestering
Post To: unclefestering Blog
Post Date: 5/8/2008 12:47:11 AM
Body: John Huston got everything right when he made The Dead. First, it was a great choice of material. In the past others have tried to adapt James Joyce’s works and failed. Instead of picking a monumental project, Huston picked his best short story. He maintains a brisk pace on this 84 minute masterpiece. Despite the short time, Huston gives us an absolutely brilliant and intimate view of the difference between love and passion and acceptance of what we have. From the humorous and boorish conversations at the Christmas party to beautifully haunting carriage ride home where Greta, played by the director’s daughter, Angelica, tells her husband a devastating secret. The cinematography on this movie is fantastic. Even if the rest of the movie was a disaster (which it isn’t) the transcendent shots would make watching this worth every second. It was a great feather in his cap that he was able to have his children involved in his last film. It is especially fitting since his work with his father on The Treasure of the Sierra Madre (1948) won him an Oscar early in his career.
]]>Thu, 08 May 2008 04:47:11 GMTunclefesteringunclefestering Blog5/8/2008 12:47:11 AM John Huston got everything right when he made The Dead. First, it was a great choice of material. In the past others have tried to adapt James Joyce&rsquo;s works and failed. Instead of picking a monumental project, Huston picked his best short story. He maintains a brisk pace on this 84 minute masterpiece. Despite the short time, Huston gives us an absolutely brilliant and intimate view of the difference between love and passion and acceptance of what we have. From the humorous and boorish conversations at the Christmas party to beautifully haunting carriage ride home where Greta, played by the director&rsquo;s daughter, Angelica, tells her husband a devastating secret. The cinematography on this movie is fantastic. Even if the rest of the movie was a disaster (which it isn&rsquo;t) the transcendent shots would make watching this worth every second. It was a great feather in his cap that he was able to have his children involved in his last film. It is especially fitting since his work with his father on The Treasure of the Sierra Madre (1948) won him an Oscar early in his career. http://www.spout.com/blogs/jakestevens/archive/2007/12/9/22659.aspx Post By: JakeStevens
Post To: JakeStevens Blog
Post Date: 12/9/2007 4:38:29 PM
Body: I keep reading posts about what this film would be like if made today minus its time-placing colloquialisms. I'll tell you: the film will fail. This film was made with so much care, the characters so perfectly played by the actors portraying them that I believe it would be an exercise in futility (not to mention a huge waste of money). See this film, enjoy it for what it is - there's a reason Bogey and the Hustons are enduring stars - their work will last the ages (much like Hemmingway and Steinbeck, in my opinion). I will probably end up watching this film numerous times because it was such a joy. Now that I know what to expect, I'll be on the lookout for the various nuances in every aspect of its being. HIGHLY RECOMMENDED.
]]>Sun, 09 Dec 2007 21:38:29 GMTJakeStevensJakeStevens Blog12/9/2007 4:38:29 PMI keep reading posts about what this film would be like if made today minus its time-placing colloquialisms. I&#39;ll tell you: the film will fail. This film was made with so much care, the characters so perfectly played by the actors portraying them that I believe it would be an exercise in futility (not to mention a huge waste of money). See this film, enjoy it for what it is - there&#39;s a reason Bogey and the Hustons are enduring stars - their work will last the ages (much like Hemmingway and Steinbeck, in my opinion). I will probably end up watching this film numerous times because it was such a joy. Now that I know what to expect, I&#39;ll be on the lookout for the various nuances in every aspect of its being. HIGHLY RECOMMENDED. http://www.spout.com/groups/Noir/Re_What_s_your_favorite_noir/313/11665/1/ShowPost.aspx Post By: JimBell
Post To: Noir
Post Date: 6/22/2007 3:11:16 AM
Body: I can see your point about film noir being an opportunity for interesting characters to get together. But I disagree. I think plot is crucial to most noirs. The Big Sleep is the classic counter example, as several people involved with it have said they had no idea what the it was about, no idea what the plot was.But put yourself back in 1947. Your are out of the service. You have a girl who you think you might marry and have four children and a house in the suburbs. You get off your job at the factory at 4:30 every Friday and you pick her up at 6:00 for a meal at the diner before the movie of the week. You had better see some of your favourite actors and the story had better be good! (With no television, the studios were churning out movies at a great pace.)That's why when you look at the hit films of the time, the plot was huge and the characters were gripping. For example, The Treasure of the Sierra Madre. It has a great plot which keeps you guessing--it moves at 1/4 the speed you assume it might, and it takes a few twists which are surprising but reasonable. And the three main guys are wonderfully delineated characters--the old prospecting geezer, the paranoid no good (Humphrey Bogart), and the honourable sidekick. The movie went on to be nominated for several Academy Awards.Shifting to noir, surprise hits like Crossfire (1947) had a very stong and complex plot as well as some interesting characters. Back in 1947 people had two names for this type of film, and I forget both, but they were something like "murder mystery" and "crime story." Heavy on plot!
]]>Fri, 22 Jun 2007 07:11:16 GMTJimBellNoir6/22/2007 3:11:16 AMI can see your point about film noir being an opportunity for interesting characters to get together. But I disagree. I think plot is crucial to most noirs. The Big Sleep is the classic counter example, as several people involved with it have said they had no idea what the it was about, no idea what the plot was.But put yourself back in 1947. Your are out of the service. You have a girl who you think you might marry and have four children and a house in the suburbs. You get off your job at the factory at 4:30 every Friday and you pick her up at 6:00 for a meal at the diner before the movie of the week. You had better see some of your favourite actors and the story had better be good! (With no television, the studios were churning out movies at a great pace.)That&#39;s why when you look at the hit films of the time, the plot was huge and the characters were gripping. For example, The Treasure of the Sierra Madre. It has a great plot which keeps you guessing--it moves at 1/4 the speed you assume it might, and it takes a few twists which are surprising but reasonable. And the three main guys are wonderfully delineated characters--the old prospecting geezer, the paranoid no good (Humphrey Bogart), and the honourable sidekick. The movie went on to be nominated for several Academy Awards.Shifting to noir, surprise hits like Crossfire (1947) had a very stong and complex plot as well as some interesting characters. Back in 1947 people had two names for this type of film, and I forget both, but they were something like "murder mystery" and "crime story." Heavy on plot! http://www.spout.com/blogs/jimbell/archive/2007/6/19/11402.aspx Post By: JimBell
Post To: JimBell Blog
Post Date: 6/19/2007 1:53:18 AM
Body: The Treasure of the Sierra Madre (1948) is so good largely because the script keeps you guessing, yet everything that happens seems to fit. Also, shooting on location in Mexico gives the picture a gritty look that a studio lot cannot. Finally, this morality tale about the corrosive effect of money on men is portrayed by three excellent actors. The best, for my money, is the least known, Tim Holt, who plays Curtin so matter-of-factly that the realism is striking. Walter Huston is also strong as the old man who has the prospecting knowledge. He does not overemphasize his wisdom, and he does not act like a stereotypical old geezer. The weakest of the strong bunch is Humphrey Bogart, but in fairness to him, he had the most difficult part to play, and the script sometimes required such sudden bouts of paranoia that there was no way he could deliver the lines naturalistically. Thoroughly enjoyable.
]]>Tue, 19 Jun 2007 05:53:18 GMTJimBellJimBell Blog6/19/2007 1:53:18 AMThe Treasure of the Sierra Madre (1948) is so good largely because the script keeps you guessing, yet everything that happens seems to fit. Also, shooting on location in Mexico gives the picture a gritty look that a studio lot cannot. Finally, this morality tale about the corrosive effect of money on men is portrayed by three excellent actors. The best, for my money, is the least known, Tim Holt, who plays Curtin so matter-of-factly that the realism is striking. Walter Huston is also strong as the old man who has the prospecting knowledge. He does not overemphasize his wisdom, and he does not act like a stereotypical old geezer. The weakest of the strong bunch is Humphrey Bogart, but in fairness to him, he had the most difficult part to play, and the script sometimes required such sudden bouts of paranoia that there was no way he could deliver the lines naturalistically. Thoroughly enjoyable. http://www.spout.com/groups/The_Casting_Futon/Re_Remake_Star_Warses/305/9711/1/ShowPost.aspx Post By: josephkuzma
Post To: The Casting Futon
Post Date: 5/30/2007 5:05:34 AM
Body: Unfortunately I don't know if we'll be that lucky with Casablanca. It seems like just the sort of thing someone will try and justify. Case-in-point: they're supposedly remaking Treasure of the Sierra Madre. Now this is all rumor mind you but it doesn't help my new ulcer any.
]]>Wed, 30 May 2007 09:05:34 GMTjosephkuzmaThe Casting Futon5/30/2007 5:05:34 AMUnfortunately I don&#39;t know if we&#39;ll be that lucky with Casablanca. It seems like just the sort of thing someone will try and justify. Case-in-point: they&#39;re supposedly remaking Treasure of the Sierra Madre. Now this is all rumor mind you but it doesn&#39;t help my new ulcer any. http://www.spout.com/groups/Top_5/Re_Top_Westerns/190/7638/1/ShowPost.aspx Post By: josephkuzma
Post To: Top 5
Post Date: 4/25/2007 9:17:30 PM
Body: 1. A Fistful of Dollars / For a Few Dollars More / The Good, The Bad & the Ugly - This is essentially one film. One huge, phenomenal film.2. Treasure of the Sierra Madre - You find me a better Bogey and I'll kick you in the nuts for lying.3. The Wild Bunch - The beginning and end of this movie scarred me in the best way as a kid.4. The Magnificent Seven - You'd think I would hate this because it's a remake (sort of) of one of the greatest movies of all time but damn it I can't not love this film. Yul Brynner & Steve McQueen were never better.5. Tombstone - Prior to seeing this movie I had a weird stigma against any and all westerns that prevented me from even watching one much less liking one. But after this I realized that they were legitimate films and for months afterwards it was all I'd rent when it was my turn to pick (I was 12 at the time).
]]>Thu, 26 Apr 2007 01:17:30 GMTjosephkuzmaTop 54/25/2007 9:17:30 PM1. A Fistful of Dollars / For a Few Dollars More / The Good, The Bad &amp; the Ugly - This is essentially one film. One huge, phenomenal film.2. Treasure of the Sierra Madre - You find me a better Bogey and I&#39;ll kick you in the nuts for lying.3. The Wild Bunch - The beginning and end of this movie scarred me in the best way as a kid.4. The Magnificent Seven - You&#39;d think I would hate this because it&#39;s a remake (sort of) of one of the greatest movies of all time but damn it I can&#39;t not love this film. Yul Brynner &amp; Steve McQueen were never better.5. Tombstone - Prior to seeing this movie I had a weird stigma against any and all westerns that prevented me from even watching one much less liking one. But after this I realized that they were legitimate films and for months afterwards it was all I&#39;d rent when it was my turn to pick (I was 12 at the time). http://www.spout.com/blogs/apfradella/archive/2007/4/13/7013.aspx Post By: apfradella
Post To: apfradella Blog
Post Date: 4/13/2007 1:35:13 AM
Body: i rate this movie in my top 10 of all time. This is a well constructed screenplay and art direction at its best. The barren desert (filmed in mexico) and man's greed and pursuit of money fill the story line so that the superb actors bring the parable to life.
]]>Fri, 13 Apr 2007 05:35:13 GMTapfradellaapfradella Blog4/13/2007 1:35:13 AMi rate this movie in my top 10 of all time. This is a well constructed screenplay and art direction at its best. The barren desert (filmed in mexico) and man&#39;s greed and pursuit of money fill the story line so that the superb actors bring the parable to life. http://www.spout.com/blogs/pulpfiction1975-66/archive/2006/4/18/895.aspx Post By: paul
Post To: PulpFiction1975
Post Date: 4/25/2006 9:44:06 PM
Body: My knowledge of acting talent from the silver screen days is limited. But I do really dig this idea of what would a film would mean if it were in a different era?Like Fight Club. I think if it were set at the turn of the century, it would probably be close to Battleship Potemkin. When you think of the political unrest between the very rich and the very poor, I think Battleship distilled into film that general sense of unrest the way Fight Club distilled into film how the ideal middle-class existence is really boring, even insanity inducing. Both films had the same result: men revolting.In the reverse scenario, a film I'd love to see done today is Treasure of the Sierra Madre. With all of prerequisite post-WWII gags and the ethnocentric portrayal of Mexicans stripped out, I think the guts of that flick make a great story about relationships falling apart the closer people get to having what they've always wanted.
]]>Wed, 26 Apr 2006 01:44:06 GMTpaulPulpFiction19754/25/2006 9:44:06 PMMy knowledge of acting talent from the silver screen days is limited. But I do really dig this idea of what would a film would mean if it were in a different era?Like Fight Club. I think if it were set at the turn of the century, it would probably be close to Battleship Potemkin. When you think of the political unrest between the very rich and the very poor, I think Battleship distilled into film that general sense of unrest the way Fight Club distilled into film how the ideal middle-class existence is really boring, even insanity inducing. Both films had the same result: men revolting.In the reverse scenario, a film I'd love to see done today is Treasure of the Sierra Madre. With all of prerequisite post-WWII gags and the ethnocentric portrayal of Mexicans stripped out, I think the guts of that flick make a great story about relationships falling apart the closer people get to having what they've always wanted. http://www.spout.com/members/0/tags/Great/MemberTagFilms.aspxGreat
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