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El accidentado rodaje de El tesoro de la Sierra Madre

Decenas o tal vez cientos de películas extranjeras han intentado plasmar una visión realista, hiperrealista o alegórica sobre México. Una mirada exterior que se debate entre lo cotidiano y el exotismo. La dama de Shanghai, de Orson Welles; El tesoro de la Sierra Madre, de John Huston; westerns como: Butch Cassidy y Sundance Kid, de George Roy Hill; La pandilla salvaje, de Sam Peckinpah, o Dos mulas para la hermana Sara, de Don Siegel y otras más, son algunas insólitas joyas acerca de esa visión foránea sobre nuestro país que revisaremos en este espacio.

Poster El tesoro de la Sierra Madre (1948, dir. John Huston)El tesoro de la Sierra Madre (1948, dir. John Huston)

The Treasure of the Sierra Madre, which won the Oscars for Best Director, Best Screenplay and Best Supporting Actor (for Walter Huston) is a reflection of Traven's own experience with the indigenous peoples of forgotten parts of Mexico, as well as a story about the human condition, ambition and the arrival of 'civilization' as a disruptive force that destroys the balance of idyllic places. The film gives us not only the dust clouds that obscure the view, the sweat that soaks the clothes or the dust that sticks to the whole body, but also the paranoia, mistrust and gradual moral and mental breakdown of the protagonist, in brutal scenes like the one in which Dobbs crosses paths with three Mexican bandits (played by the exceptional supporting actors "Indio" Bedoya, José Torvay and Margarito Luna), or another in which old Howard seeks to revive the drowned child before the expectant faces of the indigenous families that surround him, in particular that of the child's father (the great Manuel Dondé).

The Treasure of the Sierra Madre is also an involuntary tribute to the work of some of Mexico's greatest supporting actors, who are visually recognizable, even if we don't know their names. Aside from those already mentioned are Guillermo "El Indio" Calles as the town grocer, Arturo Soto Rangel as a worker from the Municipal Headquarters and Roberto Cañedo as a Federal Lieutenant. The film is one of a handful of foreign masterpieces filmed in Mexico, tinged with both credibility and fascination for the excess, mysticism and mysterious landscapes that populated Mexico.