47 of 48 people found the following review helpful
- Published on Amazon.com
"WISE BLOOD" is an overlooked jewel.
Southern writer Flannery O'Connor's first novel, "Wise Blood," made it to the big screen in 1979. The John Huston directed, low budget feature was widely praised and then practically forgotten.
O'Connor was a devout Catholic. She was also battling lupus, the sometimes debilitating immune disorder. Both factors may have colored her novel. Huston was a devout atheist. His world view certainly nuanced the tone of the film.
The story concerns a somewhat troubled, perhaps damaged, youth, Hazel Motes (Brad Dourif). Just out of the army and son of a fire and brimstone Pentecostal preacher, Motes is determined to open the first Church Withouth Christ in Taulkinham, Tennessee.
A young Brad Dourif is brilliant as the driven, vexed, Motes. There's not a false note or a wasted frame. His is a journey of spiritual self-exploration, penance and perhaps redemption. O'Connor's curiosity about the southern brand of Pentecostal mind set is riveting on film. Motes is trying to shed the damage of his ferocious religious childhood, but cannot shed his spirituality. He finds he's a Christian in spite of himself.
Supporting actors Harry Dean Stanton, Amy Wright, Ned Beatty, William Hickey and Dan Shor are all spot on.
The frisson between director Huston's disdain for religion and O'Connor's devoutness is a perfect match. The screenplay by brothers Benedict and Michael Fitzgerald does not stray from the core events, tone and ideas of O'Connor's story.
The obviously lower budget production, shot mostly in Macon, Georgia of the late 1970s, does not really detract, even though the novel is set in a somewhat earlier period.
The use of older, rather decayed buildings and locations amidst a more modern setting give a kind of muddy, out-of-time, appeal. A nice visual metaphor to the theme of old fundamentalist religious views in conflict with a more progressive spirituality.
This is a unique film and story. Hard to categorize. For me, it's a darkly comic, decidedly gothic, tale of profound spirituality and humanism. When the shoot was over, Huston said, "I think I've been had."
Criterion's transfer, as usual, is clean and sharp. I thought the color was unusually true and subtle. And the period monaural track crisp and easy on the ear.
The extras are all watchable. The new interviews with Dourif and the writer-producer brothers Fitzgerald are entertaining and informative.
A huge bonus is the rare recording of Flannery O'Connor reading her famous and terrific short story "A Good Man is Hard to Find" is alone probably worth the price of the disc! This is the only known recording of the author reading one of her stories.
There's also a wonderful vintage 1982 "Creativity With Bill Moyers" with director Huston.
33 of 35 people found the following review helpful
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Finally! John Huston's wonderful, spare adaptation of Flannery O'Connor's darkly brilliant comic novel comes to DVD. I've loved this film since its original release -- saw it repeatedly in Paris during its first run there, where it was more successful critically than APOCALYPSE NOW or TESS -- and have tried to catch it at every (infrequent) opportunity since. The period details are a bit off (a low budget guaranteed a bare-bones physical production), but the screenplay and direction couldn't be better. And that cast! A career performance from Brad Dourif as the religion-crazed Hazel Motes, marvellous supporting work from Harry Dean Stanton, Dan Shor and Amy Wright, the ideal Sabbath Lily -- and Atlanta actress Mary Nell Santacroce (mother of Dana Ivey) is unforgettable as Hazel's landlady. O'Connor's violent, sin-soaked South is certainly not for all tastes, nor, in its fidelity to her work, is this film. But if you respond to her vision, this picture will haunt you the rest of your life. Hats off to Criterion for giving us another in their line of wonderful restorations.
17 of 20 people found the following review helpful
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John Huston sets this adaptation of Flannery O'Connors Wise Blood not in the sin-soaked South of the early-twentieth century but in the present. This may have been due to budgetary constraints but Huston makes virtue of necessity and the result is a film that looks like it grew right out of the decaying streets of Anytown, America circa the late-1970's. The result is offsetting at first, because in this translation the story is less about religion and more about an America that has lost its unifying vision (if indeed it ever had one). Therefore, thematically, Huston's Wise Blood squares nicely with many other American films from the 69-81 Vietnam and post-Vietnam era like Schlesinger's Midnight Cowboy, Bogdanavich's The Last Picture Show, Hellman's Two-Lane Blacktop, Altman's Nashville, Malick's Days of Heaven, and Forman's Ragtime.
As the beginning credits roll we are treated to a series of beautiful black and white photographs which serve as evocations of an older America but one that in some ways still exists and lives on in the old run-down parts of town and in the old run-down neighborhoods even as a new America tries to re-invent itself and erase its ties to its sin-soaked past. Wise Blood is about American history and identity in a time of national crisis, but Huston does not emphasize the Vietnam War as the source of this crisis, rather he underplays it and instead chooses to focus simply on a lack of a substantive vision (religious, artistic, or otherwise) to lend coherence to the chaos that is America not just in the seventies but in all times and places.
To a certain extent this adaptation does feel like a loyal adaptation in so far as the characters are all lonely outcasts prey to visions and dreams that promise salvation but only bring about further destruction, and so they are all, despite their efforts, always on the verge of mental and spiritual collapse. This is certainly a vision of life that is everywhere present in William Faulkner and Nathaniel West and Tennessee Williams and Flannery O'Connor and Truman Capote and in countless other Southern writer's fictions, but its also the vision of many a writer not from the South. Huston was a big fan of Irish literature and it is also the vision of Joyce whose "The Dead' was adapted by Huston in 1987, and Beckett, as well as English writer Malcolm Lowry whose Under the Volcano was adapted by Huston in 1984. Huston is interested in the specifics of American history and identity but the film he creates addresses not just an American but a world-wide malaise.
Brad Dourif does a tremendous job as Hazel Motes. He plays Hazel as a tortured and lost soul desperately trying to free himself from America's long history of evangelical chicanery (Vietnam being just one example of something America has done using religion as a rationale). Hazel believes not in Jesus which only clouds peoples thinking and fools them into believing things they would be better off not believing, but in science which allows for a clear view of both the past and the future. But Hazel just can't get his preacher father or other preacher figures (one of which is played by Harry Dean Stanton and another by Ned Beatty) out of his mind or off of his conscious, as it were, for he's got a mighty guilty conscious even though he knows America's sins are not his own. He can't stand the superstition of religion and the way men use it to manipulate other men and yet it seems like everyone is either desperate to preach or deperate to be preached to if only to assuage the sense of being alone and lost.
Hazel wants only to believe in material reality and tangible things like his old car which he thinks is all a man needs to live his life, but he just can't altogether shake the pull of the religious life which has the power (or at least offers the promise) to lure and transport the soul and not just the material body. In the end Hazel Motes becomes not a preacher but an otherworldy saint who has rejected the world and all ties to it. Whether this is a personal failure or a triumph is up to the viewer to decide.
7 of 8 people found the following review helpful
J from NY
- Published on Amazon.com
Brad Dourif gives a stellar and terrifying performance in this crazy jewel of an independent film based on Flannery O' Connor's novel "Wise Blood".
While it might not match the majesty of the novel, what possibly could?
Hazel Motes is an angry SOB who is determined to prove to the world that Jesus Christ is a sham. More than that, he's out to destroy anyone who claims that Christ is indeed the Way, the Truth and the Life; he has all the maniacal zeal of a debauched decadent damning himself into sainthood.
There are frequent flashbacks to Hazel's childhood, sitting in backwoods barns and hearing about hellfire and damnation from a tall, ugly, and sinister Pentecostal preacher played by none other than director John Huston. This man was Mote's Grandfather and he was so terrifying that in one scene young Hazel urinates all over the place.
He encounters all manner of evil and corruption as he bashes heads trying to become *the* only preacher in the South (not likely). Encountering frauds, tricksters, and money hungry snake oil salesmen, the worst is perhaps Ned Beatty and his companion Asa Hawks (Harry Dean Stanton). Not only do they plagiarize Hazel's demented sermons, given on the tops of cars and random streetcorners, they dare to do so for money, which really pisses Hazel off. And Brad Dourif playing Hazel Motes--well, you wouldn't want to piss either of them off.
In reality, behind his Protestant-atheist disguise, this man is a "Jesus Hog" as the daughter of the "Blind Preacher" calls him, and a penitent in the making. Even his treatment of his insane, monkey suit donning young friend is only another manifestation of Catholicism's burning flame drawing him near like a demented moth. And he crashes on that flame, quite badly. This is recommended for anyone who still concernes themselves with O' Connor's work and that raggedy, shadowy beggar who lurks in the trees and everywhere else. Really sick and really pure.
2 of 2 people found the following review helpful
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I have sudied Flannery O'connor's work for several years and this film is stunning in the way it captures the author's intent. The role of Hazel Motes is perfectly cast. He is believable in this religious transformation. He grows from skeptic to a believer in his need for salvation. A very difficult event to describe in words and even more difficult to show on film. This film succeeds brillantly. It is one to be studied.