Production
A few notable uncredited actors appear in the film. In an opening cameo, director John Huston is pestered for money by Bogart's character. Actor Robert Blake also appears as a young boy selling lottery tickets. However, the most controversial cameo is the rumored one by Ann Sheridan. Sheridan allegedly did a cameo as a streetwalker. After Dobbs leaves the barbershop in Tampico (actually a set on a studio soundstage), he spies a passing prostitute who returns his look. Seconds later, the woman is picked up again by the camera, but this time in the distance. Some filmgoers and critics feel the woman looks nothing like Sheridan, but the DVD commentary for the film contains a statement that it is she. A photograph included in the documentary accompanying the DVD release shows Sheridan in streetwalker costume, with Bogart and Huston on the set. However, single frames of the film show a different woman in a different dress and different hairstyle, raising the possibility that Sheridan filmed the sequence but that it was reshot with another woman for indeterminate reasons. Many film-history sources credit Sheridan for the part.
Co-star Tim Holt's father, Jack Holt, a star of silent and early sound Westerns and action films, makes a one-line appearance at the beginning of the film as one of the men down on their luck.
Significant portions of the film's dialog are in unsubtitled Spanish.
The opening scenes, filmed in longshot on the Plaza de la Libertad in Tampico, show modern (i.e. of the 1940s) cars and buses, even though the story opens in 1925, as evidenced by the lottery number's poster.
Read more about this topic: The Treasure Of The Sierra Madre (film)
Famous quotes containing the word production:
“To expect to increase prices and then to maintain them at a higher level by means of a plan which must of necessity increase production while decreasing consumption is to fly in the face of an economic law as well established as any law of nature.”
—Calvin Coolidge (1872–1933)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
“... this dream that men shall cease to waste strength in competition and shall come to pool their powers of production is coming to pass all over the earth.”
—Jane Addams (1860–1935)