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and made into a movie by John Huston, about down-and-out but predatory (gold digger) Americans in Mexico. It is a parable of capitalist exploitation, first of all of the unemployed Americans, and then about the traits of greed, selfishness, paranoia and murderousness that characterize American capitalism--or rather, I should say, that poison American capitalism--which, at bottom, is merely a system of cooperative financing of whatever society needs, but which got twisted into an evil system of greed and exploitation, resulting in the Great Depression (and has done so again, today, resulting in Great Depression II).
Who do you mean by "you"? I didn't write it or film it. And the man who did write it--B. Traven--and John Huston obviously knew a great deal about the lives of the people on whom the story is based, both American and Mexican. Parable though it is, the story rings true in every way. It is one of the greatest films that Hollywood ever produced, by one of its greatest directors, Huston, and starring one of its greatest actors, Humphrey Bogart. It was filmed almost entirely on location in Mexico.
It is not ME "supposing so much stupid aggressive shit on people." The writer and filmmaker are both using their own experience, creativity and intelligence to tell a story about GREED and what this motive does to peoples' minds and to society. And, Lord, you can't read and understand history and not realize that "aggressive shit" is not projection; it is very real. In fact, the '49ers--the displaced American gold miners of the late 19th century--did far worse than Fred C. Dobbs. They slaughtered thousands of Native Americans and Chinese immigrants. The focus of "Treasure of Sierra Madre" is on how out-of-control capitalistic greed affects the people at the bottom--both the displaced, hungry, jobless American workers in Mexico and those around them. The BEST people in the film are the Indigenous villagers who have no use for "gold." They value children, life and community. The worst is Fred C. Dobbs, who is capitalism with a capital C (greed gone mad). In between, there are various shades of good and bad behavior among people--the main characters and others--who are all coping with POVERTY resulting from an unjust system.
The capitalist system, when it reaches the high state of corruption that it reached in the 1920s (and that it has reached today) forces the individual into isolation. It makes the Fred C. Dobbses of this world feel ALL ALONE. He has to "look out for no. 1" and sacrifices everything--his friends, their dreams, his own dreams, even his own safety--to have it ALL. The film brilliantly foreshadows Dobbs' descent into total isolation when, for instance, the old, wise miner takes time to restore the creek ecology where they have been gold mining, and Dobbs sees no value in that whatsoever--no value in cleaning up after himself, no value in paying Mother Nature back for her riches. He is already so egocentric and greed-driven that this wisdom is utterly lost on him. It takes a tremendous effort of mind and spirit to overcome this isolation and recognize that we live IN A CONTEXT of people and Nature, and that people and Nature are the true "gold." Without friends, family, community and Mother Nature, "gold" is not riches; it is poison.
And this is what I mean by "rings true." The novelist and the filmmaker obviously knew something about MINING. They had the seen the devastation that it can bring--both to people and to the environment. This environmental detail is brilliant--ESPECIALLY in a Hollywood film made in 1948, long before any environmental movement in the U.S. The old, wise miner cares about where they are--cares about the creek, the mountain, the trees, the fish--and ultimately cares far more for the human beings in the vicinity, the local villagers, than for "gold." Fred C. Dobbs cares for nothing but his own fancied riches, and loses everything because he cannot overcome the isolation that a greed-based system imposes on him.
Again, I don't understand your question, "Why do you always make up these stories about places and people you don't know. Why do you suppose so much stupid aggressive shit on people?"
IF you are talking about American artists placing a work of fiction in Mexico, you might as well ask, "Why did Shakespeare write about ancient Rome, in 'Julius Caesar,' or why did Franz Kafka write a book called 'Amerika,' where he'd never been?" B. Traven and John Huston knew far more about Mexico than Shakespeare knew about Rome, or Kafka about America. But none of these WORKS OF THE IMAGINATION is invalidated because they are not documentaries or were not produced by the people who actually live in the countries that are named as FICTIONAL landscapes. That is a ridiculous requirement of a FICTIONAL work. And you think Traven/Huston were not being realistic when they invented Mexican banditos who would beat up and rob a crazy American who is himself consumed with greed, or that, by contrast, asserted that there were also GOOD people in the Sierra Madre mountains the 1920s (the villagers)? I'd make a literary criticism of it, that the contrast is a bit too stark, maybe even a bit simplistic (kind of like the "virgin/whore" dichotomy about women in some male fiction), but I can't deny the utter brilliance of this complex work of fiction because it doesn't tell us everything we might like to know about Mexico in the 1920s. The banditos are a bit exaggerated; so are the villagers. But then, so is Fred C. Dobbs! It is a PARABLE. I generally don't like parables, because they tend to oversimplify. But I like this one, because it is so well executed, so well told, and in the case of the film, so well-acted, so well-photographed, so well-directed and edited, and altogether such a beauty of a tale. It is full of heart. It's from the soul. And it is one the greatest efforts that American artists have ever made to look at our behavior toward the rest of the world, in the character of Mr. Fred C. Dobbs, and to posit something better: community.
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