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THE TREASURE OF THE SIERRA MADRE

John Huston United States, 1948
The film transgresses against the typical conventions of the era: it exposes big movie stars, specifically Bogart, in the unlikeable light of malicious greed and despicable cupidity. The men, who start out as decent human beings, descend to rapacity (again, most notably Bogart), fending off bandits and other treasure-seekers willing to trade their humanity for a few nuggets of metal.
June 22, 2016
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Bogart arguably overplays Dobbs' mercurial nature, but there aren't many actors who can seem both so stand-up and so low-down (it's the transitions that clank a bit); Huston Sr. remains a hammily entertaining force of nature, proto-Herzogian when he breaks into his cackle-and-dance routine. But I gained new appreciation this time for Tim Holt in the ostensibly dull role of the good egg who never cracks.
July 18, 2011
The vital interplay of the characters in the film, as they would interact in real life, is a refreshing cinematic perspective that ends in a cathartic resolution. Huston grounds the drama in a fine understanding of human reality. Real life situations serve as the foundation of the behaviour that we witness in the film.
June 1, 2011
There lies a certain irony in the fact that Humphrey Bogart, the most highly paid star of his era, would use his hard-earned creative freedom to play against type as a down-on-his-luck loser blinded by greed in a movie about gold digging that would, in turn, prove a box office dud. But where there is irony, there is truth, and The Treasure of the Sierra Madre remains one of the most insightful films ever made about greed and the thorny effects of temptation on human nature.
October 10, 2010
The camera is always where it ought to be, never imposes on or exploits or over-dramatizes its subject, never for an instant shoves beauty or special meaning at you. This is one of the most visually alive and beautiful movies I have ever seen; there is a wonderful flow of fresh air, light, vigor, and liberty through every shot, and a fine athlete's litheness and absolute control and flexibility in every succession and series of shots.
January 31, 1948