The Treasure of Sierra Madre is one of the films that would exemplify the ideals left for Americans to believe in , or hold onto, after the Great Depression. The three main characters in the film show an evolution that would fit in the “happy ending” frame so enjoyed at this time. Cody, Dobbs and Howard are, what could be called, a normal product created out of the depression; young men looking for a life, any life. If anything is surprising about them is not who gets the happy ending but what the happy endings consist of.
On the one hand there is the loved-by-all character of Cody. He is presented to us as a good-natured man and he is during most of the film pushed to the background by Dobbs. The only clear ambition of this character, expressed by himself, is to have a simple happy life with a wife and some land. Interestingly enough the same image appears in the film when he reads the letter of the dead gold-digger. In this instance the dead man seems to achieve the respect that was denied to him before by the other men, which can be seen as the reaction expected from the audience (both to the dead man’s life and, more importantly, to Cody’s future).
On the other hand Howard seems to be a more complex character. Since his intentions are constantly challenged by Dobbs, he remains an untrustworthy character for most of the film. He would represent the voice of knowledge and, with it, not only he leads the way but helps the overall action take off. The turning point of this character happens due to his Sharman-like powers when he makes the Mexican child come to life again. To his Mexicans observants he becomes a magical doctor, a hero to the community. His heroism takes him away from the main action, shaping his new future.
Howard’s decision to remain in the Mexican community can be seen as an easy way out. Mexico is not only exploitable in terms of land but its people are easily charmed by the magical ways of the Americans. And so, the mature man with broad knowledge of land and its particular ways can survive and enjoy Mexico; the young American, whose worries are fewer, belongs in the US. Cody is a less experienced young man, whose future is clearly defined and easy to achieve. The expectations that he sets are easily achievable and highly satisfying; thing that would be most popular for the audience in the aimed timeframe –and an idea that can be reexamined in tough times, like ours now-.
Golddigging is, as Howard explains at the hostel, an individual journey. If not in theory, since the need of a group is notorious initially, but overall personal greed would overcome any basic need or previous friendship. This on its own is a valid metaphore for the 30s crash where many lives were destroyed due to greed. The decitions taken after it are the answers to the desperation and confusion of the time. So, their end is highly symbolic since they both go back to, even if different, communities. They become the admirable members of them teaching directly a powerful lesson to the audience. Not only they keep being honest throughout the whole film avoiding Dobb’s intentions, but also set their expectations at an achievable level. The didactic strength of this end follows metaphorically the director’s goal of keeping the film realistic. And this effort pays off because Howard and Cody become heroes that could prevail over Dobb’s selfish goal.
This film shows the need to go back to a community where you can develop and grow. It is a call for communal unity for the wellbeing of all members of it. Lost fortunes make the most out of the ones that could still go on without them, and for the audience at this time that could mean several things: from losing a life-style in the 30s or not being able to provide for their families to the loss of thousands of people in the wars. The community is the place they could go back to looking for a settled life to proliferate. Even in the classic tragedies –like in the case of the woman that did not belong anywhere, Medea- a basic need grows inside of the wanderers in the border: to choose a side to grow old in and be the hero of.
A. Laguna
