Wise Blood

A Southerner (Brad Dourif) -- young, poor, ambitious but uneducated -- determines to become something in the world. He decides that the best way to do that is to become a preacher and start up his own church.

This film is brilliant for its examination of religion and for its casting. On the former point, some aspects are clearly exaggerated. The world is full of crazy preachers, but probably not so many in one town that they are stumbling over each other. Is the film against religion? No. On the surface, yes, but it is really against hypocrisy.

And the casting... Harry Dean Stanton and Ned Beatty are great, but Brad Dourif runs the show, and it is a shame his name is not more widely known outside of film fanatic circles...

Vignette styled look at southern towns, corruption, hypocrisy, and the hidden 'evils' of evangelism. Has a atmosphere that is so thick you can almost taste it.

Dourif's performance is so good, so solid, and so powerful that it literally propels you through the story no matter which avenue it takes (and it does take some strange avenues). His performance should have won him the Academy award and shows just how poorly used he has been. This is for all those who think Chucky in CHILD'S PLAY is the best thing he has done.

Although never completely satisfying, the final 20 minutes do have some rather 'odd' twists that may stay with you even after it's long over.

I finally saw this movie. Had to get it on loan through the inter-library loaning service. I liked it very much. It was pretty faithful to Flannery O'Connor's story. John Houston and the cast deserve accolades for bringing this story, that can be elusive when trying to figure out what is going on, to the screen. And from some of the viewer's comments, I can see how difficult it is to understand. I sent some e-mails of my views to some of the reviewer's of this movie.

Any review of "Wise Blood" must be done in the context of the book. The odd ball and crazy characters we see all have a purpose. The hypocracy of religion is only a tool. Many of us at some point have seen some of the characters; the odd balls, the charlatans. Ned Beatty is magnificent in almost a cameo role for him. There is a tool in writing called "use of the grotesque" and some have called it "Southern grotesque". Referencing that most of the strange characters come from the South. But whether that is true or not, it did provide a source for Flannery O'Connor's books and stories.

It has been written that her stories and books are narrow, because they deal with Christianity and in particular with people in crisis and how these people go about resolving their crisis. But her stories are well-crafted and "full of insight about human weakness".

Hazel Motes crisis was trying to build a church of Christ without Christ and this led him down a path he could not resolve in his mind. Everywhere he turned, his church and ultimately he was rejected. I believe(I use these words because this is my interpretation) Hazel finally realizes that if all his attempts have failed then there is a Jesus. And Hazel being a prophet now must suffer like a prophet. The rest is his own doing his atonement for sinning. There was one small part in the book left out of the movie. When the police go to find Hazel, one of the policemen hits him with his night stick. I think of Christ being stabbed on the cross by a Roman Soldier, when the policeman hits Hazel. Also in the movie there is not enough emphasis on the Landlady's change. When she first starts taking care O hazel after he blinds himself, she is interested in his money(not explained well in the movie). After he leaves her and goes out in the rain storm, she is fearful he will get sick, and when he comes back not realizing he is dead, tells him it is okay. He can stay upstairs or not. He can do what he wants. She has experienced a return to grace. There is a collection of Mary O'Connor's writings and lectures she gave called "Mystery and Manners" edited by her good friend Sally Fitzgerald. There is a lot of material that helps to explain her writing. I wish I could explain more about Flannery O'connor, but I am glad I can read her and glad that John Houston made "Wise Blood" into a movie.

Regards,

Fran Stone

Preaching the Church Without Christ, Hazel Motes (Brad Dourif) tells anyone that will listen that he wants a church that is free from salvation and dogma, a church "where the blind don't see and the lame don't walk and what's dead stays that way". With existentialist overtones, he says, `Where you came from is gone, where you thought you were going to never was there, and where you are is no good unless you can get away from it." In John Huston's darkly satiric film Wise Blood, adapted from Flannery O' Connor's first novel, Haze is caught in a struggle between the obsessions of his past and his desire to live the truth.

The more he resists his rigid Christian upbringing represented by his fundamentalist grandfather, the closer he is drawn to it. No matter what he does, Jesus moves "from tree to tree in the back of his mind, the wild ragged figure motioning him to turn around and come off into the dark." Raised in a predominately Protestant area, Flannery O' Connor was a devout Catholic whose novels and short stories paint a tragi-comic portrait of Bible Belt evangelism and the hypocrisy that thrives in decaying Southern towns. While the film is a human rather than a Christian interpretation and the ending is simply tragic without being spiritually revealing, it still remarkably captures the essence of the novel and, if nothing else, will send viewers scurrying to their nearest library.

Set sometime in the mid-twentieth century, Haze has returned from the war with a big chip on his shoulder. Without joy he returns to his family home in Eastrod, Tennessee but on finding it run down and deserted takes a train to the fictional Taulkinham. Here he is seen by everyone that he meets to be a preacher even though he strongly protests. Even the taxi driver tells him that his hat and "a look in your face somewheres" make him look like a preacher. Brad Dourif's appearance suggests Haze with a "nose like the shrike's bill, eyes the color of pecan shells and set so deep they are like passages leading nowhere." When he meets a blind street preacher Asa Hawks (Harry Dean Stanton) and his fifteen-year old daughter, Sabbath Lily (Amy Wright), childhood memories are reactivated and he proudly tells them that he doesn't believe in anything.

With a zeal that might be described as the passion of the anti-Christ, Haze buys a broken down "rat-coloured" car that becomes the rock upon which he builds his new church, the Church Without Christ. Wearing a preacher's bright blue suit and black hat, Haze stands on the hood of his car and addresses a handful of stragglers, spewing his contempt for Christianity. "Listen you people", he says, "I'm going to preach there was no fall because there was nothing to fall from and no redemption because there was no fall and no judgment because there wasn't the first two. Nothing matters but that Jesus was a liar." When anyone criticizes his car, Hazel defends himself with the statement, "Nobody with a good car needs to be justified." Haze attracts an assortment of mostly unlikable characters: con-artists, frauds, and women without moral discernment.

While some are repugnant, others are simply amusing and the film remains watchable because of its savage humour and colourful language. For example, when one character describes the Welfare woman who cared for him, "She sho was ugly. She had theseyer brown glasses and her hair was so thin it looked like ham gravy trickling over her skull", and, "a red-haired waitress at Walgreen's has "green eyes set in pink" so that she looks like a picture of a Lime Cherry Surprise." One of the most compelling characters, Enoch Emery (Dan Shor), a slow-witted eighteen-year old with "wise blood" like his daddy, provides the comic relief. Enoch is so desperate for friendship that, mimicking the travelling Gonga the Gorilla show, he steals the gorilla costume and sneaks up on people hoping they will shake his hand. In another sequence, thinking it may be the "new Jesus", Enoch steals a shrunken mummy from the museum and gives it to Haze.

When Haze becomes fed up with the town and its inhabitants, he tries to leave but is stopped by a sheriff who tells him he isn't going anywhere and proceeds to push his car into a lake in a parody of the baptism ritual. His behavior becomes more and more extreme, having decided that he cannot live in both worlds, he chooses to live according to his convictions. Lacking the ability to express love, he internalizes the car's destruction and now sees himself as "not clean". He stuffs his shoes with glass and rocks and wraps barbed wire across his chest, then throws lime on his face. Suggesting a parallel with the story of Paul on the road to Damascus, he loses his sight but regains his vision. As strongly as he has denied Christ's presence, however, he now cannot resist it. In spite of himself, Haze achieves the grace that he sought to avoid.

I am not a reader of Flannery O'Conner, so I can't comment on her point, but I know she is considered a great American writer of Southern Gothic fiction, and that she only wrote two novels, one of which was made into this film.

I am familiar with Brad Dourif, who got an Oscar nomination for One Flew Over the Cuckoo's Nest, was most recently in Rob Zombie's Halloween, is familiar to TV viewers on "Deadwood," and is the voice of Chucky. He put himself in the very capable hands of a great director, John Huston, who won Oscars for The Treasure of the Sierra Madre (writing and directing), and accumulated 13 other nominations for such classics as Sergeant York, Heaven Knows, Mr. Allison, The Asphalt Jungle, and Prizzi's Honor.

What we get is a dramedy that is more comedy than drama. Hazel Motes (Dourif), in reaction to his strict fundamentalist upbringing, starts a church that he calls The Church of Christ Without Christ. Now, that will go over well down here in the South! He meets an assortment of preachers/con-men (Harry Dean Stanton and Ned Beatty), a non-stop talker (Dan Shor), and an oversexed 17-year-old (Amy Wright). The collective wit of the entire cast in this film is about equal to a bowl of soup, and that is what makes it funny.

One of the first of Dourif's over 120 appearances, and it is a hoot!