Movie Title: Wise Blood
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Finally! John Huston’s fabulous, spare adaptation of Flannery O’Connor’s darkly colorful humorous new comes to DVD. I’ve loved this film since its recent release — saw it repeatedly in Paris during its first urge there, where it was more successful critically than APOCALYPSE NOW or TESS — and have tried to collect it at every (infrequent) opportunity since. The period details are a bit off (a shameful budget guaranteed a bare-bones physical production), but the screenplay and direction couldn’t be better. And that cast! A career performance from Brad Dourif as the religion-crazed Hazel Motes, marvellous supporting work from Harry Dean Stanton, Dan Shor and Amy Wright, the ideal Sabbath Lily — and Atlanta actress Mary Nell Santacroce (mother of Dana Ivey) is unforgettable as Hazel’s landlady. O’Connor’s violent, sin-soaked South is certainly not for all tastes, nor, in its fidelity to her work, is this film. But if you answer to her vision, this narrate will haunt you the rest of your life. Hats off to Criterion for giving us another in their line of incredible restorations.

“WISE BLOOD” is an overlooked jewel.

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Southern writer Flannery O’Connor’s first recent, “Wise Blood,” made it to the expansive conceal in 1979. The John Huston directed, uncouth 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 original. Huston was a devout atheist. His world idea certainly nuanced the tone of the film.

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The record concerns a somewhat petrified, perhaps damaged, youth, Hazel Motes (Brad Dourif) . Objective out of the army and son of a fire and brimstone Pentecostal preacher, Motes is certain to inaugurate the first Church Withouth Christ in Taulkinham, Tennessee.

A young Brad Dourif is smart as the driven, unnerved, Motes. There’s not a fraudulent designate or a wasted frame. His is a whisk of spiritual self-exploration, penance and perhaps redemption. O’Connor’s curiosity about the southern heed of Pentecostal mind spot is riveting on film. Motes is trying to shed the distress 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 dwelling 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 fable.

The obviously lower budget production, shot mostly in Macon, Georgia of the gradual 1970s, does not really detract, even though the recent is spot in a somewhat earlier period.

The exercise of older, rather decayed buildings and locations amidst a more unusual setting give a kind of muddy, out-of-time, appeal. A nice visual metaphor to the theme of customary fundamentalist religious views in conflict with a more progressive spirituality.

This is a new film and anecdote. Hard to categorize. For me, it’s a darkly funny, decidedly gothic, myth of profound spirituality and humanism. When the shoot was over, Huston said, “I judge I’ve been had.”

Criterion’s transfer, as usual, is shipshape and exciting. I idea the color was unusually apt and subtle. And the period monaural track crisp and easy on the ear.

The extras are all watchable. The fresh interviews with Dourif and the writer-producer brothers Fitzgerald are enthralling and informative.

A gigantic bonus is the rare recording of Flannery O’Connor reading her celebrated and terrific short sage “A Gracious Man is Hard to Obtain” is alone probably worth the ticket of the disc! This is the only known recording of the author reading one of her stories.

There’s also a fantastic vintage 1982 “Creativity With Bill Moyers” with director Huston.
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