Some stories are simply so good, and they are so applied to various professions and lifestyles that you can not only tell them once. Whenever the director makes a film about a protagonist that follows a comprehensive obsession that unnecessarily puts himself in danger of himself and his colleagues, you think they take their crack in Herman Melville's Moby Melville. Movies different as Steven Spielberg's "jaws", David Lane "Bridge of the River Quai" And Ron Howard's difficult retelling of the real event that inspired Melville's novel, "In the Heart of the Sea", everyone examined such madness. However, it is not possible for no one to hit the nail on the head in more detail than Johnon Hoston.

Huston was the perfect director for Moby Dick because, to some extent, he went very close to Full Ahab on the "African Queen" set. His border self-destruction ("border" because, despite his misconduct, he submitted a masterpiece that earned Humphrey Bogart's only Academy of Best Actress) almost put Pulitzer's award-winner, Jameses Agi in the grave (the writer, who shared many years later). Worst of all, it was that Huston was looking for the "African Queen" at the Belgian Congo site because it was an aesthetically ideal, but because it was a paradise for elephant hunting.

Co-embarrasser "African Queen" Peter Wierel (who stepped on Age after his 1951 heart attack), wrote a thin fictional novel, which was closely based on Huston's hunting hunt, and, after years of development, Clint Eastwood finally brought the "white". That is One of Eastwood's biggest apostlesBut he never stretched out as an actor, nor did he express such ambivalence about what it means to be human.

Eastwood turned 60 in 1990, and seemed to be hellish to make his mark as a director. He briefly came up with the admirable underestimated "bird", which gave the director of Jazz Fan to explore another kind of artistic self-destruction, but he was on a much stronger country with "white hunter, black heart".

In terms of artistic temperament, Eastwood is a different breed than Eston. While the latter was fruitful on its own, Eastwood eliminates all the deterrent when filming. He believes that he has completed more than half of the job properly casting and reuniting the crew he worked with, in some cases, decades. He is not the hedonistic machine that Eston could be at his height; He does not drink deep in the night, enters fights and sorts all in the morning during several sets of tennis. This is why he is still alive and talks about making a new movie at the age of 95.

Huston's behavior on the "African Queen" set was the antithesis of the Eastwood process. But that is not the rhythm that strikes me as an on-Estwood, it is an obsession with the killing of an elephant that hurts the Starwear in a role that, to this day, marks it as the most challenging part it has taken so far. The Eastwood version of Huston (named Johnon Wilson) is an unbreakable bastard. He owns morality (eg Wilson loses a fight against a hotelier, who is racially abusing a black employee), but the whole point of making this film is to elephant bags. Wilson never convincingly states why he must kill such a magnificent creature; He just assumes that his power as Hollywood director will give him the opportunity to do something that has ever done something on this planet.

The "White Hunter, Black Heart" is not a classic Eastwood, but it is essential for the way Wilson casts up for abuse of power - which kills another man because when the moment arrives, he lacks the nerve to lower Astter. Wilson is a great director, he is principled, but he does not believe that world rules apply to him. By the end of the film, he seems to be more than a wave. All the talent and locksmiths in the world cannot cover up what he knows is true: as a man, Johnon Wilson is a scam. The failure of "White Hunter, Black Heart" (which made $ 2 million against $ 24 million) He led Eastwood to make the worst movie in his career with the "rookie".