Tashman: "[I]s she certainly appeared to try [to turn to sisters]" founded on anything in particular?"
I only meant that Miss Moorehead (as they used to say), by some judgments here not a great beauty, after two tries at marriage, and raising an adopted son whom some said ran away, may have become fed up with men. More easy for heterosexual women than for homosexual men, I think, in the vice verse.
Tashman and Harvey: If you look at Huston's career, after films hailed by critics like James Agee in the 1940's and early 1950's, such as THE MALTESE FALCON, THE TREASURE OF THE SIERRA MADRE, THE ASPHALT JUNGLE, and THE AFRICAN QUEEN, he suffered a critical decline similar to that which plagued Welles. At one point, he was regarded by many as a hack, who would do just whatever was handed him. His films of the late 1950's and 1960's you mention, Harvey, THE BARBARIAN AND THE GEISHA or A WALK WITH LOVE AND DEATH, which look pretty good today, were battered. SINFUL DAVY was just not released in Canada, I don't believe it had a real theatrical release in America.
FREUD was cut in the way many of Welles' films were butchered. You may very well be right, Harvey, about its excellence. I've never seen a full print of the original film.
But unlike Welles (whose F FOR FAKE or TOSOTW our man might have had hopes would do the trick), Huston had a critical comeback in THE MAN WHO WOULD BE KING in 1975, and though he had his ups and downs after, he died a champ.
Hadji, in the America and World of today, you must not tear your self up. We are all in the same boat.
Tashman, Tony, Harvey, Hadji, perhaps I can tie all of this together:
One reason Huston was long interested in making a film on the life of Freud was that, like many Mid-20th Century men, he was fascinated with the idea of mental treatment and psycho-analysis, though not much of a willing subject himself. In The Hustons, Lawrence Grobel tells us that John Huston, who had made the suppressed Army documentary, LET THERE BE LIGHT, was puzzled by his relationship with his mother.
And Margaret Huston Carrington, influential in Huston's transformation into a responsible craftsman and director of actors, sent "Bobby" Jones, the set designer, to Vienna "to cure him of his homosexuality," when Huston was under her sway. It did not work, of course, but she eventually married Jones, and they remained together until her death in 1938.
One can readily see similar concerns underlying Welles' THE MAGNIFICENT AMBERSONS.
Now . . . I might try to connect Agnes "Bobby" Moorehead to all of this . . . but I won't.
Saw MUNICH last night, Jaime. Full of soul-searching and psychologizing. Better than most Spielberg, not so sentimental, but still pretentious and exploitive.