Feature Review | White Oleander
Written by: Brian Orndorf

Astrid (Alison Lohman) has always expected peace in her life with her eccentric artist mother, Ingrid (Michelle Pfeiffer). But when Ingrid commits a vengeful murder, the peace is disrupted, and Astrid is taken away, only to spend the next three years of her life going in and out of foster and group homes. Some families offer warmth (Renee Zellweger and Noah Wyle), some offer exploitation, and others offer jealousy and hatred (Robin Wright Penn). But every time Astrid settles down into a new life, she finds that she cannot escape her mother’s powerful wrath. Ingrid’s love, which once ran over her like a warm hug, reveals itself to be a poisonous sting.

Make no mistake, “White Oleander” is a heartbreaking movie. It’s a film that pulls no punches with its dark subject matter, preferring to head straight on with this tale of disappointment and loathing. It’s a winning film because of its gloom, not in spite of it. Gripping, fascinating, and superbly acted, “White Oleander” just might be the best recent film that will make you want to kill yourself after viewing.

Adapted from the popular novel by Janet Finch, “White Oleander” has a seething nature to it that makes it glow. But turned into a feature film, that glow has been somewhat tarnished in the process of taking a book and making sure it fits acceptable running times, MPAA ratings (I think the PG-13 restrictions here hurts what the filmmakers are trying to do), and actor tastes. You can’t blame director Peter Kaminski (1992‘s “Wuthering Heights”) too much for failure to make some of the pieces connect. As intimate as this story is, there is just too much emotional backstory and nuance in Finch’s book to translate into full glory to the screen. Kosminsky falls back onto the story’s episodic nature, as Astrid moves from home to home, and soon finds tragedy in everywhere she plants herself. By themselves, the stories are exceptionally well done, but they don’t fit together as well as they should. A common flaw of book-to-film translations. Astrid’s rise from naive child to destructive young woman should be a smooth, intricate journey. Kosminsky tries to maintain that focus, but he can’t quite get the job done, with “White Oleander” hurting from the leaps in time and psychological development.

Easing the transitions between the families is Alison Lohman. Positively dazzling, this young actress holds “Oleander” together with her fine acting. Her Astrid isn’t some foster care clichй, complete with chip firmly planted on shoulder and pregnant belly, but a defined character who has seen so much horror in her life, and suffered such great losses, that her trust in those around has been obliterated. Lohman has formidable co-stars in a viciously foaming Pfeiffer, a sweet Zellweger, the sexy lunacy of Wright Penn, and a touching Patrick Fugit (“Almost Famous”) as the object of Astrid’s desire. Yet it is Lohman who commands the attention. This is a terrific breakthrough for the actress.

“White Oleander” is a bitter pill, and though it doesn’t have the fluid nature it deserves, the story’s power is still enough to provide engrossing drama, and the acting is not to be missed.

Grade: 8 out of 10     

COMMENTS
Date/Time of Posting:  Dec 07 2002 / 10:43:53
IP Address:  64.53.133.220
name = Brandon Ramirez
Email = rramirez.com@wow.com
comments = White Oleander is a powerfully dramatic film with Oscar worthy performances.I highly reccomend it!