Le malin

Black humor has never been done better. But this is not a film for the squeamish. It's going to take some thought. Not a film to be watched while doing the dishes. This is a challenging but rewarding film that borders on being a great work of art. The first time I saw this film I was impressed. Each time I rewatch this movie it becomes more funny in an odd sort of fatalistic way. Each time I rewatch it it becomes more impressive. It's almost impossible to describe the way the bittersweet pathos of the movie collides with the funny, goofy, craziness of the characters. We've seen these people but rarely do we really consider their lives. They're damaged or idiots or inept swindlers or all three. We look at them with small amusement or try to get away from them, but don't give them much thought. I usually don't care much about actors. They are a dime a dozen. This film is different. This is pretty much every actors best role. Brad Dourif shows why he should be way more famous. Amy Wright is spellbinding in as a very strange girl. Dan Shor is hilarious and pathetic at the same time as a lonely moron. Stanton is hysterically funny as an utterly corrupt preacher. Lot's of other unusual and interesting performances including a small but wonderful performance by a sympathetic one armed mechanic, a wise but vicious highway patrolman and a small town hooker enjoying her own downward spiral. In the end all of the characters are doomed, but they are all worth caring for in spite of and because of their own strange but very human weaknesses. In addition it's beautifully filmed and has a heart rendering score that fits it perfectly. Reputed to be Hustons own personal favorite film, it bombed at the box office. Highly recommended.

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

A hefty percentage of the comments on "Wise Blood" dwell on its relationship to the novel from which it was drawn -- pro and con. Brilliant faithful adaptation says one moviegoer. Trashy sacrilege screams another. Those of us who haven't read the book are stuck with the movie which balances superb atmosphere with strange storytelling. Let's start on the plus side. John Huston and his crew have caught not only the look but the feel, almost the smell, of a midsize southern town in Summer. The weathered frame houses, the sagging streets, the one-screen cinema, the tired used car lot with its rusty Ford Fairlanes, they form a richly authentic backdrop for the action. That's where "Wise Blood" gets into trouble. Who is Hazel,played by Brad Dourif, what war did he emerge from, why does he want to be a preacher and most of all, why does he suffer psychotic temper tantrums? You'll have to figure that out for yourself -- along with why a would-be acolyte steals an embalmed monkey for him and why the nymphet daughter of a "blind" evangelist is smitten with him, down to her threadbare stockings. Sure, there are allegorical references galore throughout the film. The phoniness of Gonga, the gorilla (a bruiser in an ape suit) matched against the phoniness of street corner preachers. But in the end, maybe you'll say to yourself (but never breathe a word to more ephemeral friends)I just wish the darned thing made more sense.

What other testament to how criminally neglected this film is other than the fact it has a rough 900 votes at the time of writing this? A movie directed by John Huston of all people. That's not to say Wise Blood is not a flawed film, few if any such films exist after all, nor that it has that dramatic wholesomeness and clear characterization that makes something like Sierra Madre the classic it is, yet, much like other 80's cult items like Repo Man, it remains endlessly watchable and fascinating.

The movie follows the trials and tribulations of a young man fresh back from a war (not specified which - any war will do really) somewhere in the deep South who starts out as an angry man who believes in no saviours and no dogmas and dreams of a Church of Christ without Christ but slowly finds himself digressing out of circumstances out of his hand to that which he most loathes. It's not specified to what extent the war changed him as a man or if it did at all, or if a fundamendalist grandfather (played in a flashback cameo by John Huston himself) played a role in his formative years.

Turning from fierce individualist and hater of preachers to zealous preacher of his own church where there is neither fall, redemption or judgement because there's nothing to fall from and nothing to be redeemed for, and from preacher to self-tormenting repentant, Brad Dourif brings Hazel Motes and his monomaniac pursuit alive with burning passion. Always tense and ready to lash out at everyone and anyone, he's a seething mass of tendons and nerves writhing with agitation.

I have not read Flannery O'Connor's original novel nor have I been brought up in a Protestant or Catholic background (or the deep South for that matter), but there's something captivating about Wise Blood beyond and despite its particular subject matter. That elusive quality that turns a good movie into a haunting one. Still, it's easy to see why it failed to find an audience when it came out and has been largely forgotten since. The seriocomic mood is perhaps a bit too incosistent for the viewer who needs to quickly determine what kind of response the movie demands. Part religious drama, part road movie, part demented black comedy, part satiric oddity, Wise Blood is as hard to file under a specific label as it is to watch without a reaction. Yet it doesn't fail in any of them, and that's why it's such a bonafide cult film, rather than merely a curiosity.

Blessed with a powerhouse performance by Dourif, enhanced by cameos of such character actor stalwarts as Harry Dean Stanton (in the role of blind preacher) and Ned Beatty, the picturesque baroque of the American South, and assured direction by the venerable John Huston, Wise Blood, in all its southern gothic glory, is a cult film crying out to be rediscovered by a new audience.

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.