John Huston has the distinction of driving at least two writers so crazy working with him that they wrote books about the experience, seemingly to expedite demons.
Ray Bradbury wrote "Green Shadows, White Whale" after working on "Moby Dick" and Peter Viertel wrote, "White Hunter, Black Heart" based on his time working on "The African Queen". Filmed in Africa in harsh conditions, the shooting of the film became secondary to director John Huston's quest to shoot an African elephant.
Viertel fictionalised the events to a degree. John Houston's alter ego became John Wilson and Viertel became Pete Verrill, while "The African Queen" morphed into "The African Trader"
Although Eastwood never met Huston, he almost seems to be channelling him in this film of the novel, which he also directed.
For anyone who loves movies this is a gem sitting somewhere on the list of box office failures. It was one of Clint's least successful films,
Anyway the audience that didn't go missed possibly Clint Eastwood's best performance. And it is a performance. Where many were happy to see the familiar Clint persona in film after film, here he submerged himself in a completely different character.
He captured the challenging old filmmaker's unique mannerisms. Fortunately for Clint, the Huston style was in evidence in his many roles as an actor. I'll bet Clint ran Preminger's "The Cardinal" a few times where every Huston mood was on display as he gave life to Cardinal Glennon.
Like Huston, Clint didn't spare himself or the crew and took them to fabulous locations in Africa, other scenes were shot in impressive, stately homes in Britain.
But the most intriguing aspect of the story is what one must presume was Viertel's take on John Huston's philosophies on everything. Some seem outrageous, but delivered with great wit as Eastwood captures Houston's distinctive cadence and his power to make everything he said sound important.
Interestingly, Huston actually made a film about the saving of the African elephant, "The Roots of Heaven", but he crammed it full of annoying, eccentric characters; it wasn't one of his masterpieces.
Although some in Hollywood felt he had stabbed Huston in the back with his book, according to one article, Viertel said they actually remained friends. Huston amazingly gave the book a release before he'd even read it. When Huston did read the manuscript he suggested a more dramatic ending that, in Viertel's words, "...would have made his character even less redeemable in the eyes of readers".
Huston, who once provided the voice of God in one of his films, tested people; he seemed to want to see what made them tick. He admired "guts" and found ways to discover if those around him had any. Many of his films, which include some of my all time favourites, explore the theme. "White Hunter, Black Heart" captures that confronting spirit beautifully.
Ray Bradbury wrote "Green Shadows, White Whale" after working on "Moby Dick" and Peter Viertel wrote, "White Hunter, Black Heart" based on his time working on "The African Queen". Filmed in Africa in harsh conditions, the shooting of the film became secondary to director John Huston's quest to shoot an African elephant.
Viertel fictionalised the events to a degree. John Houston's alter ego became John Wilson and Viertel became Pete Verrill, while "The African Queen" morphed into "The African Trader"
Although Eastwood never met Huston, he almost seems to be channelling him in this film of the novel, which he also directed.
For anyone who loves movies this is a gem sitting somewhere on the list of box office failures. It was one of Clint's least successful films,
Anyway the audience that didn't go missed possibly Clint Eastwood's best performance. And it is a performance. Where many were happy to see the familiar Clint persona in film after film, here he submerged himself in a completely different character.
He captured the challenging old filmmaker's unique mannerisms. Fortunately for Clint, the Huston style was in evidence in his many roles as an actor. I'll bet Clint ran Preminger's "The Cardinal" a few times where every Huston mood was on display as he gave life to Cardinal Glennon.
Like Huston, Clint didn't spare himself or the crew and took them to fabulous locations in Africa, other scenes were shot in impressive, stately homes in Britain.
But the most intriguing aspect of the story is what one must presume was Viertel's take on John Huston's philosophies on everything. Some seem outrageous, but delivered with great wit as Eastwood captures Houston's distinctive cadence and his power to make everything he said sound important.
Interestingly, Huston actually made a film about the saving of the African elephant, "The Roots of Heaven", but he crammed it full of annoying, eccentric characters; it wasn't one of his masterpieces.
Although some in Hollywood felt he had stabbed Huston in the back with his book, according to one article, Viertel said they actually remained friends. Huston amazingly gave the book a release before he'd even read it. When Huston did read the manuscript he suggested a more dramatic ending that, in Viertel's words, "...would have made his character even less redeemable in the eyes of readers".
Huston, who once provided the voice of God in one of his films, tested people; he seemed to want to see what made them tick. He admired "guts" and found ways to discover if those around him had any. Many of his films, which include some of my all time favourites, explore the theme. "White Hunter, Black Heart" captures that confronting spirit beautifully.