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liked the adaptation of Ms O'Connors work and by setting it in more contempoary times [ca 1979] feel this gives it a bit more impact. Loved rhe cameo by John houston and all the shots of Macon Georgia. Terriffic Indy film. A must for your collection.
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John Houston's adaptation of Flannery O'Connor's Wise Blood is superb. It is as true to the book as is probably possible. The movie captures the dark humor and grotesqueness of the book. It's a great presentation of Hazel Mote's Church Without Christ "where the blind don't see and the lame don't walk and what's dead stays that way."
Houston's approach is often as stark and unusual as the book. The bluegrass Tennessee Waltz musical score is used to highlight the comedic. The actors were well chosen, with Motes, Enoch, and Asa Hawkes portrayed particularly well. Motes's haunting by the man who runs behind the trees of his mind is never portrayed explicitly, but Brad Douriff's clenched teeth delivery of many lines is used well to show the tension, fury, and anger within Motes.
The movie, though, seems closer to an "art house" film than one for general release, and I suspect that viewers without prior familiarity with O'Connor's novel, or at least her writings more generally, might be confused by the film and perhaps not appreciate it.
The movie is not set in the immediate post-World War II South as is the novel. Rather, it seems set in a time that is a blending of the 1950s, early 1960s, and the mid-1970s. This takes something from the story. For example, we first meet Motes returning from war, but what war?
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I was looking for a story out of the ordinary and I found it here. The movie has John Huston's excellent direction and the acting is superb. It is a difficult movie to understand. Mr. Motes pursues his vision of religious truth with great intensity and certainty. He winds up angry, without sympathy for others, and worse (more detail w/be a spoiler). Since the book's author, Flannery O'Connor was a devout Catholic, I'm guessing part of her intent was to warn that this is not a good state of mind in which to pursue sprirtual goals. Myself, I prefer agnosticism. Don't believe too strongly in something you can't prove is right. Watch it and see what it means to you.
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It is enjoyable to see the characters of one of my favorite books come to life on the screen. However, the filmmakers seem satisfied to portray the absurdity of the story for the sake of humor alone. I never got the impression that the filmmakers fully grasped some of the complexity behind the characters and what they are doing. In fact, I think some of it would be near impossible to understand without the book.
Cest la vie - I find myself saying the same thing everytime a movie is made from a favorite book: The book is better!
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49 of 50 people found the following review helpful
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.Read more ›
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