🎦 The Treasure of the Sierra Madre full movie HD download (John Huston) - Drama, Action, Adventure, Western. 🎬
The Treasure of the Sierra Madre
Drama, Action, Adventure, Western
IMDB rating:
John Huston
Walter Huston as Howard
Tim Holt as Curtin
Barton MacLane as McCormick (as Barton Mac Lane)
Alfonso Bedoya as Gold Hat
Arturo Soto Rangel as Presidente (as A. Soto Rangel)
Manuel Dondé as El Jefe (as Manuel Donde)
José Torvay as Pablo (as Jose Torvay)
Margarito Luna as Pancho
Storyline: Fred C. Dobbs and Bob Curtin, both down on their luck in Tampico, Mexico in 1925, meet up with a grizzled prospector named Howard and decide to join with him in search of gold in the wilds of central Mexico. Through enormous difficulties, they eventually succeed in finding gold, but bandits, the elements, and most especially greed threaten to turn their success into disaster.
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The Treasure of the Sierra Madre
From Oscar and Golden Globe winning director John Huston (The Maltese Falcon, The Asphalt Jungle, The African Queen, The Man Who Would Be King), I had heard about this film before I found it in the 1001 Movies You Must See Before You Die book, probably because of the leading actor, I looked forward to watching it. Basically set in 1925, in the Mexican oil-town of Tampico, two Americans, Fred C. Dobbs (Humphrey Bogart) and Bob Curtin (Tim Holt), have been swindled and are down on their luck looking for work. They meet old prospector Howard (Oscar and Golden Globe winning Walter Huston, John's father) who offers to take them on gold prospecting journey to the remote Sierra Madre mountains, they are able to bankroll the finances required when Dobbs wins a small jackpot in the lottery. Reaching the hinterlands by train, and surviving a bandit attack en route, in the desert, Howard proves himself to be the toughest and most knowledgeable, he is the one to discover the gold they seek. They dig a mine and extract much gold, but greed soon sets in, Dobbs begins to lose both his sanity and trust, lusting for the entire treasure, he is also unreasonably worried one of his partners will try and kill him. James Cody (Bruce Bennett), a fourth American, appears and gets the three debating what to do with a new stranger, rather than give him a share of the gold they have found, the three agree to kill Cody. The three prepare to kill Cody, but then the bandits reappear, pretending to be federal police, there is a tense exchange regarding proof of their authority, then a gunfight ensues, during which Cody is killed, the real federal police show up and chase the bandits away. Howard leaves to help local villagers save the life of a seriously ill little boy, he recovers, but the villagers insist Howard should be honoured, but he leaves his goods with Dobbs and Curtis. The paranoia of Dobbs continues, he and Curtis constantly argue, until one night Dobbs holds Curtis at gunpoint, shoots him, leaves him for dead, and takes all three shares of the gold, however Curtis survives and crawls away. Dobbs almost dies of thirst, until he reaches a waterhole, there he is ambushed by the same bandits they encountered earlier, they kill him, but mistakenly they believe the bags of gold are nothing but sand, the scatter the gold to the winds. While Curtis is discovered by the locals and taken to Howard's village to recover, the bandits try to sell Dobbs' donkey, a child recognises the animal, and Dobbs' clothes, reporting them to the police, they are captured, forced to dig their own graves and executed. Curtin and Howard miss witnessing the bandits' execution by moments, and they learn the gold is gone, they find the empty bags and realise that the wind carried the gold away. Curtis and Howard accept the loss with calmness, before Howard laughs that it is a good joke and does a little jig, they part ways, Howard returning to the village to have a permanent home, and Curtis returns to America to find Cody's widow. Also starring Barton MacLane as Pat McCormick, Alfonso Bedoya as Gold Hat, Arturo Soto Rangel as El Presidente, Manuel Dondé as El Jefe, José Torvay as Pablo and Margarito Luna as Pancho. Bogart gives a great performance as the highly paranoid drifter, Walter Huston is also great as the gnarled old man who knows all there is to know about gold, I will be honest and say I drifted off at times, but it is a good story of treasure hunting, John Huston certainly deserved his awards for both writing and directing, and it has fantastic thundering music by Max Steiner, a most worthwhile classic western adventure. It won the Oscar for Best Writing, Screenplay by John Huston, it was nominated the BAFTA for Best Film from any Source, and it won the Golden Globe for Best Picture (tied with Johnny Belinda). Humpherey Bogart number 36 on The 100 Greatest Movie Stars, Bogart was also number 1 on 100 Years, 100 Stars - Men, "Badges? We ain't got no badges! We don't need no badges! I don't have to show you any stinking badges!" was number 36 on 100 Years, 100 Quotes, the film was number 30 on 100 Years, 100 Movies, it was number 67 on 100 Years, 100 Thrills, and it was number on 100 Years, 100 Greatest Movies. Very good!
the descent into madness
By sheer coincidence, I watched this soon after viewing Werner Herzog's 'Grizzly Man'. Two films separated by 60 years, one a documentary the other an adaptation of a novel. The common thread is their insightful portrayal of man descending into paranoia and delusion. Timothy Treadwell is a real-life modern day Fred C. Dobbs. Both men seek glory - one gold, the other protection of bears - and in that quest perceive threats and dangers where none exist. Their delusion also blinds them to the very real threats that isolation and mistrust can cause to prey upon the mind.

Bogart is outstanding as the tormented Dobbs, while Huston gives a perfect counter-point performance as the seen-it-all senior who knows the demons Dobbs falls victim to, and the futility of trying to fight them. John Huston's directing is exceptional, the oft-quoted pub-fight scene a statement on the anti-glamourisation of violence; dirty, draining, squalid and animalistic. The screenplay is top class, with the minor character bandit leader Alfonso Bedoya truly fleshed out with some of the best lines. Each episode in the second act appears at a brisk pace - the mine collapse, the lizard, the arrival and demise of Cody, the Indian child, the need for Huston to separate, the betrayal, Dobbs getting his comeuppance. It all flows beautifully and never seems forced or unnatural.

The Treasure of the Sierra Made justifiably lives up to the mantle of classic.
"I know what gold does to men's souls."
The Treasure of Sierra Madre, is not only a stunningly visual treat, but also a story and script of depth and magnitude, set in old time Mexico.

As a Bogart fan, I found it at first, difficult to get past Bogart playing such a ragged and gritty character, once I did I realised him and his co stars - Walter Huston & Tim Holt were such a tenacious force in this 2.5 hour epic.

Sierra Madre feels fresh and could stand up well against anything put out today. I have not seen a film in recent years, with outstanding lines, powerfully delivered by Huston or with the conviction and honesty Holt does..with Bogart, all three characters are very different yet essential.

Do yourself a favor and go buy or rent this. It carries great moral and truth, in a story of rags to almost riches.

~Paul Browne.
How 'bout some beans?
Directed by John Huston, "The Treasure Of The Sierra Madre" stars Humphrey Bogart and Tim Hold as two down on their luck Americans struggling to make ends meet in rural Mexico. Upon learning that a nearby mountain contains gold, the duo team up with a wise old timer and go in search of riches. Predictably, Bogart falls under the spell of greed and descends into violent madness. The film's point: material wealth makes you paranoid, increasingly greedy and eventually corrupts the soul.

Unsurprising for a John Huston flick, a subtle socialist undercurrent runs throughout the picture. Bogart is oblivious to his own class status, turning his back on those who struggle like him in favour for embracing the race for wealth. Instead of truly uniting himself with his partners, developing a trusting, mutually beneficial relationship, Bogart sabotages everything with his paranoia and every-man-for-himself ethos.

So Bogart is essentially the ugliest incarnation of a popular American icon, the rugged frontier iconoclast, striking out on his own to make his fortune. Huston and B. Traven, the author of the novel upon which the film is based, also manage to turn the story into an anti-capitalist, anti-fascist adventure tome in which the greed and deviousness of human nature is juxtaposed with the psychological underpinnings of poverty and post-revolutionary politics on peasants and indigenous peoples. Like Huston, who fraternised with communists in is youth, Traven was an avowed leftist (at one point a character in the film even quotes Marx, applying Marx's "labour theory of value" to the search for gold) and so the film must be read through the lens of the workers revolutionary movements of the era, when the Soviet Union was more an ideal and less a corrupt manifestation of power.

Huston made at least two films which defined their genres: "The Asphalt Jungle" and "The Maltese Falcon". "Madre" is equally influential, everything from "Bring Me The Head Of Alfredo Garcia" to "The Man Who Would Be King" to "The Wild Bunch" to "The Good The Bad And The Ugly" to "There Will Be Blood" borrowing heavily from its pages. George Lucas even stole the look of Indiana Jones from Bogart's character. Indeed, all 4 Indiana Jones movies are basically "The Treasure of Sierra Madre" with action scenes, greed corrupting the souls of each film's villains.

More interesting is the way "Madre" fits in with its sub-genre of adventure stories. There have always been tales in which heroes go on quests to find "grails", "gold", "treasures" or "magical things", but for the most part, these characters have all been looking for essentially the same mixture of wealth, power, knowledge, dignity and individual freedom. In "Madre", though, the quest for wealth is seen as being inherently negative. Nastily portrayed, Bogart's gang evoke Shylock in Shakespeare's "Merchant of Venice", Gekko and Bud in "Wall Street" or Ebenezer Scrooge in "A Christmas Carol". Economist Friedrich Hayek noted this long-standing tendency to interpret the acquisition of wealth as being sinister: "Distrust and fear have long led ordinary people to regard wealth as being suspicious, inferior, dishonest, and contemptible. Activities that appear to add to available wealth 'out of nothing', without physical creation and by merely rearranging what already exists, stink of sorcery. That a mere change of hands should lead to a gain in value to all participants, that it need not mean gain to one at the expense of the others, was and is nonetheless intuitively difficult to grasp. Many people continue to find the mental feats associated with trade easy to discount even when they do not attribute them to sorcery, or see them as depending on trick or fraud or cunning deceit."

For Hayek, it is not that "greed is bad", but that people are irrationally suspicious of the entrepreneurial skills required to acquire and create wealth. Hayek, of course, is the godfather of contemporary Neoliberalism, spawned every evil from Thatcher to Reagan and has been thoroughly debunked by post neoclassical, eco-economists. His stance, which is how most vaguely and intuitively understand modern society (a type of sorcery which denies physics, energy flows and in which value is magically created and benefits everyone), is ultimately an apologia for exploitation which ignores deep rooted, systemic problems.

The lesson put forth by art like "Madre", though, is consistently the wrong one. Such art doesn't challenge our conceptions of wealth (or the paradoxes of capitalism- the physics of contemporary money is fundamentally unethical and creates indebtedness), but simply warn us that "too much is bad". The moral tone of all these tales is thus similar to how Spinoza famously reinterpreted the Bible. Because early people were primitive, he says, God's will took the form of a performative command ("Thou shalt not do so and so!"). For the modern man, however, the way to grasp this is not through commands that appeal to authority, but through a kind of scientific or objective "constructive" statement ("Thou shalt not smoke because thou shalt get cancer!") which highlights a certain causality designed to keep excesses in check.

And so modern man doesn't get orders any more. Instead, commands are hidden in a universal form, never spoken directly: "Smoke, but nicotine is dangerous for your health", "Eat what you want, but beware of cholesterol", "Money is great, but too much corrupts". The whole world is now a mass of conflicting information, food tins swamped with tables and charts, detailing the levels of sugar, fat, salt etc. In our permissive society, everything is available, you can have whatever you want, the world is yours, but actually, you better not touch anything. Everything is prohibited, even though it's not. Finding gold is great, but it will royally mess up your life.

Incidentally, the film's downbeat climax is pure noir, very much akin to the climaxes of Huston's "Maltese" and "Asphalt". Huston would win Oscar's for directing and writing the film.

8.9/10 – Worth two viewings.
Extraordinary and marvelously performed film about a grizzled hustler decides to join with other prospectors to find gold
Magnificent rendition of B. Traven's story of ambition and human nature at its worst and dealing with an unlikely trio of ambitious prospectors . As Fred Dobbs (Humphrey Bogart) and Bob Curtin (Tim Holt) , two Americans searching for work in Mexico, convince an old prospector (Walter Huston) to help them mine for gold in the Sierra Madre Mountains . Through a lot of troubles they eventually succeed in finding gold, but greedy outlaws (Alfonso Bedoya) , and most especially craziness lead to disaster . As they sold their souls for the treasure of the Sierra Madre .

It's an intelligent semi-western that scrutinizes the greed and paranoia that afflicts a misfit group , including their enormous difficulties and breathtaking taking on between protagonists and the Mexican enemies that stalk to them . The film blends thrills , emotion , intrigue , high body-count and it's fast moving and exciting ; being filmed in Mexico, though Warners' studio head Jack L. Warner had the unit return to Hollywood when the budget started to exceed $3 million . Thought-provoking screenplay by the same Huston , concerning about greed and ambition that threaten to turn their success into disaster . Director John Huston had read the book by B. Traven in 1936 and had always thought the material would make a great movie . Based on a 19th-century ballad by a German poet , Traven's book reminded Huston of his own adventures in the Mexican cavalry . When Huston became a director at Warner Bros. , the smashing success of his initial effort, The Maltese Falcon (1941), gave him the clout to ask to write and direct the project, for which Warner Bros had previously secured the movie rights . Although by many to be director John Huston's finest film , this is a tale of fear , greed and murder , as three partners fall out over the gold they have clawed out of the inhospitable and bandit-ridden deserts and mountains . It also has probably the most brutal gold bar fight ever put on film along with "The Ruthless Four" . Overrated by some reviewers , but very interesting and attractive to watch . It above all things mostly also remains a real characters movie, in which the three main roles are the essentials . Their dynamic together is also great and is what mostly keeps this movie going . They are three totally different characters, which is the foremost reason why they work out so great together on film . Bogart is superbly believable and gives a nice portrait of an increasingly unhinged prospector , Walter Huston is very good as a cunning veteran and Tim Holt is also pretty well . John Huston has a cameo as an American tourist , this scene was directed by Humphrey Bogart, who took malicious pleasure on his director by making him perform the scene over and over again. And the little boy who sells Bogart the portion of the winning lottery ticket is Robert Blake . The bum seated near Walter Huston in the first scene in the Oso Negro flophouse is Jack Holt, father of Tim Holt . Walter Huston, father of director John Huston, won the Academy Award for best supporting actor , John won for best direction . This was the first father/son win .

The musician Max Steiner composes a vibrant soundtrack and well conducted ; including a catching leitmotif and considered to be one of the best . Atmospheric scenario with barren outdoors , dirty landscapes under sunny exteriors and a glimmer sun and fine sets with striking cinematography by Ted McCord , this was one of the first American films to be made almost entirely on location outside the USA . Also shown in computer-colored version . The picture was shot on location in Tampico, Mexico ; just as John Huston was starting to shoot scenes in, the production was shut down inexplicably by the local government ; it turns out that a local newspaper printed a false story that accused the filmmakers of making a production that was unflattering to Mexico . Fortunately, two of Huston's associates, Diego Rivera and Miguel Covarrubias, went to bat for the director with the President of Mexico , then the libelous accusations were dropped . The motion picture was stunningly realized by John Huston and the film took 5-1/2 months to shoot and was 29 days over schedule ; Robert Rossen submitted at least nine drafts of rewrites on the screenplay when John Huston was away during the war . Rating : Above average . Well worth watching , essential and indispensable seeing . In 2007: The American Film Institute ranked this as the #38 Greatest Movie of All Time.
A dark tale of Greed !!!
'The Treasure of the Sierra Madre' can be found in the Required Viewing list for Werner Herzog's 'Rogue Film School' programme. After having watched the film, I can completely understand why Herzog must have been influenced by this. The reason for that is the fact that this film has a very 'Heart of Darkness'-like feel to it and it explores themes that Herzog has time and again dealt with in his own films.

An important theme in the film is how nature can use darkly funny ways to undermine the audacious ambitions of humans who try to venture into uncharted territories, into the wilderness and conquer nature. The three men try to fight the forces of nature and persevere to get their treasure, but in the end they can't escape the mysterious ways of nature and nature ends up having the last say in the deciding the fate of the treasure. Another important theme is greed. The film might have the word 'treasure' in the title, but the treasure/gold in itself is really insignificant in the bigger picture. The film is about the changes that the lust for the treasure brings about in the characters, most particularly Dobbs. Being completely out in the open for months and being completely enveloped by the paranoia brought on by his greed, Dobbs slowly and gradually becomes a paranoid, heartless monster over the course of the film. One can easily see a bit of Dobbs in Herzog's 'Aguirre'. The original book by B. Traven as well as the film by John Huston undoubtedly offer a commentary on reckless capitalism and the underlying greed which fuels such tendencies.

Huston's script retains the catchy, sharp dialogue that can be found in his other films. However the film lives and dies by Huston's direction. The cinematography is fantastic. Although the camera-work and camera movements remain somewhat standard during the initial moments, but once things start falling apart and the greed fueled paranoia and lunacy start to envelope the characters(mainly Dobbs), Huston also simultaneously cranks up the frenetic nature of the camera movements and the intensity with which certain scenes get staged to complement the transition in tone. There is a grittiness to the film that I genuinely liked. There is a very poignant use of close-ups in this film to underline changing emotions in the characters. One of my favourite moments in the film involves Curtin's character caught up in a crucial moment of moral dilemma when he has to choose between doing the right thing, and doing the selfish thing. It is a wordless moment of brilliance.

Bogart is brilliant as Dobbs. This is a character that gradually loses his mind and I believed that transition completely. His intensity towards the last act of the film made the character in equal measures pathetic, as well as scary. Walter Huston and Tim Holt deserve a lot of admiration for their respective performances too.

With a name like 'The Treasure of the Sierra Madre', one could expect to get a film about the thrills of the adventure in the journey to the treasure ending with the protagonists finding the elusive 'treasure'. But this film subverts expectations and offers a terrific exploration of human greed and nature's indifference to such greed. It's a great film that is easily worth recommending.
Treasure This!
Most excellent entertainment offered bar none. Who doesn't like a good story properly told and directed and acted out to perfection that remains timeless? Here it is! None other that the subject that is one of the banes of mankind i.e. "greed" is explored and the viewer is invited to ask what would I do or have done if that was me? Remember, there are no wrong answers as we all do what we must to figure out what works and what doesn't sometimes realizing there is a better way and sometimes not. We wont know unless we take the risk to know. That point is made quite well when the old man in the story simply states if we don't take a risk we can't make a gain. Of course as a viewer we have no stake in the movie except an emotional one but that teaches quite well along with holding your attention from start to finish. As a story, it unfolds rather nicely introducing you to the characters and allowing each their substance. What this does is make the move memorable for its quality scenes of which there are so many resulting in a comeback experience. I have seen this movie so many times and each time I am fed well just like a thanksgiving dinner. Greed, who hasn't suffered by it or for it makes its entrance and doesn't leave until moderated and brought into control. Not the other guys greed mind you but your own. When you become sensible then you may help or comment on others. The conclusion of the movie is ultra-satisfying and leaves you with a sense of adventure well lived just for the experience alone. This is what life is all about. Kudos to all involved including of course the author of the book of which I recommend reading. What is the Treasure of the Sierra Madre? I know what you think it is and what the story says but leave yourself open to discover perhaps riches not of this world. Good movie to eat a meal by with a tasty drink and superior snack to follow. Put this one in your film library!
Make Sure You Find John Huston's 'Treasure' Trove!
John Huston's The Treasure of the Sierra Madre tells the tale of two small-time drifters – the short-tempered, glutton for pleasure Fred C. Dobbs (Humphrey Bogart) and the easygoing Bob Curtin (Tim Holt). Both have been cheated out of hard-earned wages by a fraudulent employer, and when they corner him in a bar, they beat him so savagely that it seems pointless to hang around town. When they take lodging in a 50-centavo common room-style hotel, the seasoned, wisecracking Howard (Walter Huston) talks about treasure in the mountains as a way to make a sizable profit. The three down-and-out gold prospectors, hitherto slumming in Tampico, venture into the eponymous mountain range and strike the mother lode. But soon, trouble starts brewing as Dobbs finds his altruistic view of wealth transformed, grows avaricious and becomes completely conquered by his murderous suspicions towards the other two men, till everything they've worked for and accumulated is jeopardized.

The simple tale of the Freudian triangle (that ultimately endures 10 months of hardship at the hands of mother nature and, to varying extents, each other) in the Mexican desert seems lifted straight out of archetypal myths, with the tragic Dobbs functioning as the moral lynch-pin - ultimately unlikable but achingly human in his weaknesses. Huston's crackerjack screenplay is a study in karmic justice; tragic in its portrayal of the inevitable crumbling of one's conscience in the face of fortune. Shot largely on location, the film posits its characters against the unforgiving immensity of their surroundings (sun-blasted high chaparral landscape, usually desolate, except for the three central characters), rendering their efforts almost pathetically sublime.

Decades since its release, the performances by the three leads continue to exert a raw moral power. Bogart goes full-tilt in a bold, unapologetic turn as the unhinged Dobbs. He exhibits a brilliant level of nuance as he changes from a bum down on his luck to a man filled with paranoia and lust for money. Holt makes a sturdy counterweight to Dobbs' excesses. But it is Huston Sr. who holds his own as the wise old buzzard, flanking Bogart's bravura paranoia. He may have a bit of a wacky side, but that facade belies a capable and wise core. He infuses his character with such energy and charisma that he forces everyone into the background whenever he's on screen.

The Treasure of Sierra Madre is a clever study of the essential existential hopelessness and loneliness of the avaricious man. Partly realistic, partly poetic, fully moral, this deservingly canonized behemoth is one of the relatively few films that transcend the medium to become a mandatory viewing experience for anyone that identifies themselves as a human being, period.
Yet another hugely overrated John Huston film: plays like a comic-book.
The first hour-and-a-half are not without faults here and there, but quite entertaining nonetheless. But once the trio decides to quit digging, the film deteriorates rapidly; from then on far-fetched and annoying plot-devices abound. For example, the little episode where Huston Sr. heals a Mexican boy; this entire scene was shot with too much pomp: the superior white man cures the savage child, while the entire village looks on, with the village lights shimmering with a divine glow - all this accompanied by glorious Hollywood music. Silly.

Then Huston is forced to stay with the villagers as their "thanks" for curing the boy; John Huston uses an old cliché of natives threatening to use force when their wishes for hospitality aren't met. (A plot-device I'd use only in a comic-book.) A little later Bogart makes it crystal-clear that he: a) has gone crazy, and b) will kill Holt to get all the gold. Holt, in spite of this overwhelming evidence, takes no other measure to deal with this dire situation other than to take Bogart's bullets away from him. Eventually Holt falls asleep and Bogart injures him, thinking he had killed him. Now, I don't care how noble Holt's character is supposed to be in this Tinseltown fairy-tale, but there is no way in hell that Aany reasonable person would have not bumped off Bogart, or at least tied him up, or something like that.

The film presents us with three gold-diggers whose characterizations aren't bad, but one of them is insane and evil, while the other two are good and nice; there is no in-between, no grey area, just movie (or comic-book) stereotypes. Black and white. Huston, Sr. is far too understanding and patient; he gives his wise-old-man speeches on a regular basis, but this is forgivable. However, what isn't forgivable is the ease with which he takes the news that Bogart tried to kill Holt and took all the gold. Huston, Sr. even shows UNDERSTANDING for why Bogart acted this way! Again: Aany reasonable person would have been very upset, to say the least - even the old man with his I've-seen-it-all-before attitude. Makes one wonder who is more insane: Bogart or the goodie-two-shoes Holt and Huston, Sr? At the end, when no one gets the gold (how very symbolic...), Huston, Sr. even laughs at the idea that they lost all of it! To make things even more annoying, Holt joins in, after staring at the old geezer in bewilderment.

I find it ridiculous that the Mexican bandits who killed Bogart didn't recognize the gold; they mistook it for sand and threw it away. But why would anyone carry dozens of bags of sand in the middle of a desert?! Huston would have us believe that Mexicans (or Mexican bandits) are this dumb. Not very PC...

The kind of nonsense that takes place in the latter parts of this movie would never be tolerated in a modern movie by any critic, good or bad. But old movies are like little children: they get away with almost anything.

I like Bogart much better when he isn't playing gangsters or detectives. However, his portrayal of insanity is not without typical 30s and 40s touches of naivety; this may be the director's fault, not Bogart's, especially in view of the fact that it was Huston who wrote (or adapted) those monologues that Bogart has when contemplating his next moves; these scenes come off very comic-book-like, with the difference that movies don't have balloons so Bogart had to speak his thoughts out loud. Holt is the most convincing in the cast. Huston, Sr. is a motor-mouth actor who could have challenged even Cagney to a duel to find out who the fastest mouth in the West was. There were moments where I wished that Huston's machine-gun-fire line-deliveries had been subtitled. He is likable enough, but occasionally acts in the sort of semi-silly manner, typical of the 30s, 40s and 50s.

The worst acting came from the character, early in the film, who didn't want to pay Bogart and Holt. Which brings me to the fight these three had in a bar: this is one of the most strangely choreographed fight-scenes I've ever seen. The fight looks totally unconvincing and lacks "logic". But Huston is known for that; just check out the silly fights in "Across the Pacific".

Perhaps Huston's overblown reputation has something to do with his larger-than-life persona. People say he looked and talked like God, commanded respect. Unlike his movies, that elicit unintentional laughs.

If you're interested in reading my "biographies" of Bogart, Huston, and other Hollywood people, contact me by e-mail.
Music score
Max Steiner score is excellent, particularly the guitars on the San Joaquin Valley bit as Tim Holt recalls his youth, and later when Walter Huston suggests that Tim go and visit Cody's widow.

But I really liked the Mexican music, mariachi and folk, in the beginning of the film.

I've tried for years to find/track down the mariachi music used in the background when Bogart gets out of the barber chair. Anyone have a clue to the name of this tune?

And the song that is played as Holt and Bogart enter the Oso Negro, the flop-house where they meet Walter Huston.
📹 The Treasure of the Sierra Madre full movie HD download 1948 - Humphrey Bogart, Walter Huston, Tim Holt, Bruce Bennett, Barton MacLane, Alfonso Bedoya, Arturo Soto Rangel, Manuel Dondé, José Torvay, Margarito Luna - USA. 📀