I saw WILDCAT on May 19th, 2024. This was at Cinema Arts Centre in Huntington, New York. The audience stayed for the entirety of the end credits. Only I do that. I think this means that this was an audience of readers. Flannery O'Connor was the draw.
WILDCAT tells a little about the life of the author of the novel WISEBLOOD. I know Flannery O'Connor's reputation: She was the ultimate Iowa Writers Workshop figure; she was a serious Catholic from the deeply Protestant deep South; and she wrote the greatest short story ever written by an American, "A Good Man Is Hard To Find."
The movie will best be understood in comparison to other movies of the last thirty or so years dealing with the lives of creative people. Frida Kahlo, Jackson Pollack and Thomas Wolfe have been subjects of films. FRIDA was stunning, but it had, in common with most relatively recent cinematic treatments of the lives of artists, the goal of pointing the audience to the works the subjects created. Frida Kahlo, like Herman Melville, suddenly caught the world's attention decades after death. Pollack was very famous in his lifetime and his work is never out of fashion. Thomas Wolfe remains a colorful author nobody has much patience for; the movie is focused solely on his working relationship with the great American editor, Maxwell Perkins. Wolfe, the historical figure, remains recognizable to people who love books. But nobody loves his books. (Well, nobody I love does.)
WILDCAT is Ethan Hawke's entry into this field. I started reading WISEBLOOD once. I read three of O'Connor's stories and I've read a fair number of HARPER'S BAZAAR and/or ATLANTIC MONTHLY articles about her. I've seen her mentioned in many a discursion in THE NEW YORK TIMES BOOK REVIEW. I almost borrowed THE VIOLENT BEAR IT AWAY today. But I put it back on the shelf after reading half of the first paragraph. Someone had borrowed WISEBLOOD, and O'Connor's story collections are due back at the library in a few weeks. People are reading her right now. I decided to let someone else's eyes rest on THE VIOLENT BEAR IT AWAY.
I enjoyed the movie thoroughly. I was the only person in that audience of Flannery O'Connor fans (or industry insiders) who allowed himself to be heard laughing at the funny parts. O'Connor's sardonic humor is much more prominent than that Sacred Heart stuff she made so terrifying. The movie weaves actual conversations from O'Connor's life with scenes from her fiction, and many characters from her life are played by the same actors acting out the short stories. What I found really intriguing was that the movies presented PARTS of stories. (I have pointed out I have read three of her stories, but I'm certain that all the ones adapted here are treated in part. The opening of the movie is from one of the stories I read. Ethan Hawke wants to pique our interest in O'Connor's work, and he shows us a Flannery O'Connor who adapts what she experiences or witnesses. O'Conner's mother, played by Laura Linney, crops up in different guises in the stories, as does O'Connor herself.
Ethan Hawke's movie features his daughter - Maya Hawke is a first-rate actress, by the way - playing a woman who puts herself and her mother in her fiction. Years and years ago, when Ethan Hawke was in his early twenties, he published a book, and I remember the skepticsim with which this was met. But he consistently emphasizes a life of reading; of play-going and, I would say, salvation through the written word. Put him in a category with the Wyeths; Lloyd Bridges and his family; or the Wainwright and McGarrigle families. There is a tradition of creative families and Ethan Hawke's is one of these. Nobody else was going to offer a sincere treatment of the literary art of the short-lived, uncompromising author at the center of WILDCAT. Nobody else wanted to show the legacy Flannery O'Connor left the reading public.
Knowing some little about O'Connor or her writing will help you enjoy WILDCAT. But you might see it and then seek out her books.
