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DIRECTED BY: John Huston
FEATURING: Brad Dourif, Amy Wright, Dan Shor, Harry Dean Stanton, Ned Beatty, William Hickey, Mary Nell Santacroce
PLOT: In a small Southern town, WWII veteran Hazel Motes proclaims the foundation of his new Church of Christ Without Christ, but runs into obstacles including a deceptive preacher and his wily daughter, a simple young man who is determined to help by providing a Native American mummy, and a huckster who gloms on to Hazel’s pitch in pursuit of a quick buck.
WHY IT MIGHT JOIN THE APOCRYPHA: Wise Blood pulls off the trick of translating the quirky voice and complex themes of Flannery O’Connor’s writing to the screen, delivering both the surrealism of her situations and the aspirational delusions of her characters in a way that’s faithful to the source material but fitting for the new medium. There’s a lot that an adaptation like this might leave by the wayside, but this one includes every audacious, blasphemous, ridiculous moment.
COMMENTS: I would never have expected to encounter as much John Huston in my tenure at 366 Weird Movies as I have, but a look at the last decade of his career reveals a man who was fiercely determined to do his own thing, but also savvy enough in the ways of Hollywood to play ball half the time in exchange for freedom the other half. So the man’s going to flirt with weird at about a 1:1 ratio. Stints behind the camera for Annie, Victory, or Phobia seem like down payments for more dedicated efforts like Prizzi’s Honor, Under the Volcano, or The Dead. Wise Blood definitely falls into the latter category, as the director waited patiently for his chance to adapt O’Connor’s first novel, undertaking more commercial ventures until his neophyte producers finally came up with the funding. Once he had it, he worked fast and affordably but without compromise.
I almost feel like all I need to tell you is that it’s a grand showcase for Brad Dourif. A legendarily weird character actor, Dourif takes to a leading role with gusto. His Hazel Motes is an astoundingly meaty part, a character made up of vast contradictions and competing emotions that all somehow fit together logically. He rails against the unkept promises of organized religion, but becomes irate at the sight of false devotion. He yearns for connection to others, but recoils at anyone who would try to attach themselves to him. (He’s at his happiest with the prostitute whom he pays for her affections.) He tools around in a beat-up Ford Fairlane that even he seems to recognize is beyond repair, but he insistently defends its honor against any criticism. We will quickly learn that Hazel is a parfait of fierce pride and acute embarrassment, and the combustible mix only makes him more ardent in pursuit of a purer truth. Each setback heightens his intensity, each failure leads him to repeat with ever more determination.
Alone, Hazel might seem too weird to endure, but Wise Blood surrounds him with a murderer’s row of supporting players who demonstrate that he’s as much a product of his surroundings as he is his own mass of peculiarities. Stanton is a con man whose tongue drips with moral superiority, while granddaughter Wright hopes to use her skills of deception to trick Dourif into a marriage bed. Beatty has a small but crucial role as a sidewalk swindler who infuriates Dourif by not only being better at street preaching but using that talent to fleece the readily gullible masses. Most eccentric of all is Shor, a simpleton with a fascination for mummies and gorillas for whom no surprise revelation of the truth is ever a disappointment. And all this strangeness is just part of the fabric. Everyone’s weird, but no more so than the next guy.
Which points to Huston’s oddest and most successful trick: Wise Blood is a film truly out of time. Are we seeing O’Connor’s 1952, with the settings, costumes, and attitudes of a society still finding new footing after a world war? Or is this the Macon, Georgia of 1979, neck-deep in national malaise and taking an initial stab at a post-racial new South? Huston chooses not to choose, turning O’Connor’s characters into unwitting time travelers who occupy the physical present day but live in a spiritual yesteryear. It makes for a curious watch, but perfectly fits these people who long for change but refuse to be changed themselves.
It says something about both author and director that the final scene of Wise Blood, in which our protagonist’s unyielding principles lead him to his ultimate fate, is both sad and funny. Not bittersweet, but ruefully humorous. It’s the perfect coda to the tale of a man who refused to be relatable and never stopped wondering why he couldn’t relate. O’Connor and Huston were both one-of-a-kind artists, so it’s a lucky outcome that blending the two results in a movie that’s not much like anything else.
WHAT THE CRITICS SAY:
(This movie was nominated for review by future contributor Jake Fredel, who said it “seems a must for the list in my opinion.” Suggest a weird movie of your own here.)
(both films)
