That was an excellent one.

Simply Perfect

Just what I expected

This movie feels like it was made purely to piss off people who want good shows

Army veteran Hazel Motes (Brad Dourif) returns to the South after the war to find his abandoned crumbling ancestral home. His grandfather (John Huston) was a preacher. He's wounded but doesn't want people to know where. He intends to do something he's never done before. He hates to be called a preacher. He encounters blind street preacher Asa Hawks (Harry Dean Stanton) and his daughter Sabbath Lily Hawks (Amy Wright). He counters by preaching his own Church of Truth Without Christ Cruxified. He is hounded by Enoch Emory (Dan Shor) who claims to have wise blood. He buys an old rundown car to sleep in. He follows the blind preacher's daughter.There is a surrealism to all of it like the characters are not of this world. All of them are a bit off. Brad Dourif creates one of the most eccentric angry character that is still compelling to watch. This is such an off-kilter group. I'm fascinated enough to follow his meandering journey. There are some terrific supporting actors delivering wonderful performances.

"Wise Blood" is a rambling, ambling film about a young soldier who returns from the war and embarks on a career as an anti-religious street preacher. Brad Dourif plays Hazel, whose returning home from his ostensible tour in Vietnam seems much more like a release from a long prison stint. He doesn't seem to know anyone, or anything about modern society. He is strangely out of place in a strangely underpopulated and anachronistic universe. I kept asking myself if the film was supposed to take place in the present-day 1979 or the fifties? This is what happens to a Director's eye as he gets older...Brad Dourif is a wonderful actor... always unafraid, always making original and unusual choices in his performances. Hollywood seems to consider him too much of an oddball to play the Lead, but I think that's exactly what makes him so fascinating... Amy Wright stars as Sabbath Lily, and almost completely steals the show with her magnetic eyes, expressive face, and wonderful comedic timing. Harry Dean Stanton also gives a great performance as a blind rival preacher.The movie has great actors and some genuinely funny bits: Hazel's defensiveness about his car, Sabbath Lily's lustful pursuits, Ned Beatty's new Messiah, the gorilla sequence... but these seem at odds with the extraordinarily dark themes that lie beneath the surface, and the pointedly-bitter finale. It's a shame this movie didn't gel into something more cohesive and memorable, but it definitely earns points for originality... it is like no movie you have ever seen before, and for that reason alone it is a winner.GRADE: B-

It's a great character study - in that, it explores what a person becomes if they are a "true idealist". The idea is that we all give up certain ideals every single day in exchange for making our lives more efficient and effective. Where the main character of this story is a solid, immobile foundation of ideals. We see how it slowly corrodes his life, his social connections and affects the people around him. Think about it this way: if you live in a city where you think the MTA charges too much for bus/train fare, but choose to utilize the service because the other options are too hard to follow through with each and everyday, you've essentially given up an ideal. The main character in this movie wouldn't do that, he would walk to his destination or learn to ride a bicycle or what have you. That is, at least, my understanding of this the lead character in this phenomenal movie.

This is not an easy movie to get a handle on, so I'm not surprised reviewers either love it or hate it. Now, I've neither read the O'Connor novel nor lived in the South nor read the Bible since Sunday school. As a result, I have to take the movie as just that, a movie, without benefit of outside comparison.I get the impression that underneath all the black humor and exaggerated characters, something profound is going on. But exactly what? Perhaps you need that outside reference to penetrate the subtext. Then again, perhaps the profound subtext is illusory, like Hazel's view of Christianity, such that the narrative amounts to little more than artfully eccentric entertainment, courtesy sly old John Huston.The following are what I hope are helpful interpretations, generally not emphasized by other reviewers, many of whose commentaries were, nonetheless, very helpful to me.Above all, Hazel has come to hate hypocrisy. His motto appears to be: If you own the Truth, then live it. For Hazel, Truth is the illusory nature of Christian metaphysics, (a disavowal that doesn't necessarily equate with atheism), and by golly he's going to live that truth in his own peculiar way. Thus, the hard-eyed obsessive stare, the refusal of commitment sex (Sabbath) but not commercial sex (an over-priced 4 dollars), and the rather heartless rejection of the pathetically friendless Enoch. In short, like his adversary, the true Christian proselytizer, Hazel is a driven man.The trouble is that he knows only one way of spreading his truth-- by preaching angrily on street corners. Worse, his gospel is one of pure and insistent negatives (perhaps why atheism has never been popular), for example,"when you're dead, you're dead!" -- not exactly a crowd-pleaser. Nor, for that matter, is he going to allow Preacher Sholes (Ned Beatty) to dilute that negative message with a crowd-pleasing brand of hucksterism. Hazel may be strange, but he is no hypocrite.Now, it's clear that the broken-down jalopy means more to Hazel than just another hunk of iron. He's always praising it, even as it coughs smoke and bleeds fluids. It's his chariot, and while it might not take him to heaven, it will take him to the next town to spread his Word. Note that he even uses it to slay the pathetic pretender who would take his place on the street corner. Moreover, it's not until Hazel loses that chariot (hilariously) that he takes on the role of the martyred prophet. After all, rejection now means he has no other place he can get to.For me, the most revealing part of the film is Enoch's (Dan Shor) pathetic efforts at establishing contact with another human being. Huston, of course, doesn't play up the sentiment, but it's there anyway. Also, this may constitute the most damaging perspective on the dominant Christian culture of the movie-- even more damaging than Hazel's centerpiece non-belief. After all, if Jesus' message is unconditional love, why is Enoch alone and abandoned in an empty world of nominal Jesus followers. Nor, for that matter, is Hazel's brand of soulless non-belief any help either.Then too, just count the number of happy smiles in the film-- practically none, except when the kids are reaching out to the fake human, Gongo the gorilla. Poor Enoch thinks that by donning Gongo's costume, people will finally reach out to him. But there's no such contact in this atomized world of social rejects. In fact, a dominant theme appears to be just that, rejection-- Hazel rejects Jesus, Sabbath, his landlady, Enoch, Preacher Sholes, while even the cop rejects Hazel's jalopy, at the same time, the whole seedy community rejects Enoch. Quite a commentary on an environment where Jesus is advertised on every big rock and sold on every street corner as a friend to the friendless.Now, I don't know if there is any particular moral to the foregoing, but if there is, I suspect it's not a comforting one. Anyway, the movie is full of colorful characters, offbeat situations, and is never, never predictable. So, like the film or not, I expect that it's one you're not likely to forget.