Tuesday, 11 August 2015
The 1970s really were amazing for films. Last night I watched Wise Blood for the first time since it came out in 1979 and it’s even better than I remembered it.
From the blurb on the DVD: ‘War veteran Hazel Motes returns from the war with little waiting for him but the hypocrisies of the over-zealous evangelists that populate his bible-belt hometown … With an upbringing of fire-and-brimstone sermons Hazel has taken enough, and so begins his own rebellious crusade with the founding of “The Church of Truth without Jesus Christ”.’
It’s funny, outrageous and unsettling. One of the reasons it works so powerfully for me is, I think, that it seems not fully in control of its material: John Huston, staunch atheist, is making a film from a novel by Flannery O’Connor, whose writing was imbued with a highly personal, distinctive brand of Catholicism, and for all their shared appreciation of the black humour of the whole set-up, and line by line in the dialogue, at some level important to the whole story they are out of sync. Oddly, the film seems to gain from this.
Another out-of-sync thing: budget constraints and the speed with which the film was made put limits on period accuracy – so that, for example, Hazel gets off a steam train (which they had free use of during filming) and jumps into a 1970s taxi. This, too, works beautifully. The film is timeless. There are bits of plot that fray to the side and aren't pulled in: again, this works.
They had a child do the lettering for the start-of-film credits; Huston’s forename is spelt ‘Jhon’ (twice) and they left it like that (see above; note also that tombstone telephone). (Any other film in which the director’s name is mis-spelt in the credits?) Another mis-spelling: Hazel stares at a tombstone on which the carved letters declare that his mother has gone ‘to become an angle’.
Pretty well all the peripheral characters – the hooker with whom Hazel stays when he arrives in town, the 2nd-hand car dealer he buys his Lincoln from, the drunks in an alleyway frightened by a man in gorilla costume – are played not by actors but by themselves: real hooker, real car dealer (and son), etc.
This was the first filmed screenplay by the brothers Michael and Benedict Fitzgerald. When they were children Flannery O’Connor wrote Wise Blood while renting a room at their family house; their father, the poet and translator Robert Fitzgerald, was at the same time translating Oedipus Rex, from which O’Connor borrowed the self-blinding. The whole film seems to have been one of those semi-magic comings-together of the right people at the right time. Brad Dourif as Hazel Motes is extraordinary. Amy Wright as the teenage girl who wants him is so off-key brilliant that I worry about myself. During filming they all played poker at the weekends.