The African Queen

Synopsis: September 1914, news reaches the colony German Eastern Africa that Germany is at war, so Reverend Samuel Sayer became a hostile foreigner. German imperial troops burn down his mission; he is beaten and dies of fever. His well-educated, snobbish sister Rose Sayer buries him and leaves by the only available transport, the dilapidated river steamboat 'African Queen' of grumpy Charlie Allnut. As if a long difficult journey without any comfort weren't bad enough for such odd companions, she is determined to find a way to do their bit for the British war effort (and avenge her brother) and aims high, as God is obviously on their side: construct their own equipment, a torpedo and the converted steamboat, to take out a huge German warship, the Louisa, which is hard to find on the giant lake and first of all to reach, in fact as daunting an expedition as anyone attempted since the late adventurous explorer John Speakes, but she presses till Charlie accepts to steam up the Ulana, about to brave
Director(s): John Huston
Production: Twentieth Century Fox Home Entertainment
  Won 1 Oscar. Another 2 wins & 9 nominations.
 
IMDB:
7.9
Metacritic:
91
Rotten Tomatoes:
98%
PG
Year:
1951
105 min
727 Views


O Lord, I've tried so hard.

So they been here, too, eh?

After I left here the other day,

the drums started in the forest.

Pretty soon, my boys was moaning

and rolling their eyes.

I asked them what the trouble was,

and they told me the drums said

the soldiers was rounding up

their people

and marching them off

and burning their villages

so they wouldn't have

no homes to come back to.

Sure enough, when I got to the mine,

everything was a shambles.

My boys took one look

and bolted into the forest.

The way I look at it,

they plan to make soldiers of the natives

and take over all Africa.

Where's the Reverend?

He's in there. He's dead.

Well, now, ain't that awful?

If they'd up and shoot a reverend

couldn't do them a bit of harm,

- well, there ain't nobody safe.

- They didn't shoot him, Mr. Allnut,

but they may as well have done.

That's certainly too bad, miss.

That's all I can say.

- When'd he die, miss?

- He died early this morning.

Excuse me, miss. What I mean to say

is, what with the climate and all,

the quicker we get him

under the ground, the better.

If you don't mind my saying so.

You got a spade?

Behind the bungalow.

I expect he'd like to be buried

in the shade.

I'll tell you what.

While I'm digging the grave,

you get your things together,

all the things you want to carry,

and then we can clear out of here

in a hurry.

The Germans might come back anytime.

- Why should they?

- They'll be back, all right,

looking for the African Queen.

They'd give a lot to get their hands

on her, you bet.

And what's in her, too.

Blasting gelatin, tinned grub,

cylinders of oxygen and hydrogen,

heaps of things them Germans

could use. You can trust them for that.

The Germans.

See, I figure we could go somewheres

behind an island where it's quiet

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John Huston

John Marcellus Huston (; August 5, 1906 – August 28, 1987) was an Irish-American film director, screenwriter and actor. Huston was a citizen of the United States by birth but renounced U.S. citizenship to become an Irish citizen and resident. He returned to reside in the United States where he died. He wrote the screenplays for most of the 37 feature films he directed, many of which are today considered classics: The Maltese Falcon (1941), The Treasure of the Sierra Madre (1948), The Asphalt Jungle (1950), The African Queen (1951), The Misfits (1961), Fat City (1972) and The Man Who Would Be King (1975). During his 46-year career, Huston received 15 Oscar nominations, won twice, and directed both his father, Walter Huston, and daughter, Anjelica Huston, to Oscar wins in different films. Huston was known to direct with the vision of an artist, having studied and worked as a fine art painter in Paris in his early years. He continued to explore the visual aspects of his films throughout his career, sketching each scene on paper beforehand, then carefully framing his characters during the shooting. While most directors rely on post-production editing to shape their final work, Huston instead created his films while they were being shot, making them both more economical and cerebral, with little editing needed. Most of Huston's films were adaptations of important novels, often depicting a "heroic quest," as in Moby Dick, or The Red Badge of Courage. In many films, different groups of people, while struggling toward a common goal, would become doomed, forming "destructive alliances," giving the films a dramatic and visual tension. Many of his films involved themes such as religion, meaning, truth, freedom, psychology, colonialism and war. Huston has been referred to as "a titan", "a rebel", and a "renaissance man" in the Hollywood film industry. Author Ian Freer describes him as "cinema's Ernest Hemingway"—a filmmaker who was "never afraid to tackle tough issues head on." more…

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Submitted on August 05, 2018

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