(Credits: Far Out / Manfred Werner / Tsui)
Sun 24 August 2025 19:15, UK
One of the many perks of being an actor is potentially getting to work with the directors you grew up loving, which is certainly an exciting prospect for those stars who are particular cinephiles.
Michael Caine swaggered into the 1960s as one of Britain’s most captivating new stars. With a Cockney bite to his personality and the quintessentially English turns that made his name, Caine was on the rise in his own unique way. But he wasn’t daft; Hollywood was in the offing, and with an Alfie Oscar nod in his pocket, he hopped the pond without a backward glance.
From there, it felt like anything was possible. Who next, then? Well, in 1975 he hit the jackpot: a job with his cinematic north star. John Huston, whose films had rewired Caine’s brain as a kid parked in the stalls. Better yet, the project had once been lined up for one of Caine’s own idols, Humphrey Bogart.
In his memoir Blowing the Bloody Doors Off, Caine explained, “I twice had the tremendous experience of being directed by the man I regarded as the greatest all-round movie talent of our time, the late great John Huston: fifteen-time Academy Award nominee, director of my childhood heroes, director of three of my all-time favourite childhood movies—The African Queen, The Treasure of the Sierra Madre, The Maltese Falcon.”
For young Caine, those old Hollywood reels must’ve felt like another planet. He’d grown up amid the bombsites of the Blitz, sirens still wailing and ration books out. So when he grafted his way up the ladder and wound up working with the very filmmaker whose pictures had once been his comfort and compass, he could hardly believe his luck.
“John first cast me in The Man Who Would Be King, in the part of Peachy Carnehan that he had originally written twenty years earlier for my idol Humphrey Bogart,” he continued. “We worked together a second time in Escape to Victory in 1981″.
The pair’s reunion on Escape to Victory didn’t quite hit the same heights, with Caine this time sharing the screen with Sylvester Stallone in a curious mix of sports drama and war flick. Still, for Caine, the real win was working again with Huston. To him, the director wasn’t just a Hollywood heavyweight, he was something bigger, almost like a “father figure”.
“He was very gentle with actors because he loved being one himself,” Caine wrote. “And he had an aura about him—charisma maybe, or star quality—that seemed effortlessly to command attention and respect. It was John who taught me not to expect constant input from a director—and that the quality of a director’s input could not always be measured by the number of times he interacted with me or the number of words he threw in my direction”.
Caine clearly picked up plenty from his time with Huston, lessons he lugged with him into later roles. Not long after, he nabbed a ‘Best Supporting Actor’ Oscar for Hannah and Her Sisters and then another in ’99 for The Cider House Rules. Safe to say, Huston’s words of wisdom weren’t wasted.
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