MOVIE REVIEW: ‘White Oleander’ is a must-see — Grade A
Walking into “White Oleander,” I had heard nothing about the film and everything about Michelle Pfeiffer’s performance and the Oscar buzz swarming around it.
True, she is brilliant in this movie. “Oleander” is her best film in years. But this is not her film. This movie belongs to Allison Lohman, a newcomer who plays Pfeiffer’s daughter, Astrid.
It is best to talk about Pfeiffer and her other co-stars first. Each has developed and crafted characters so rich and deserving of praise, it is hard to believe there could be more.
Pfeiffer’s character, Ingrid, is as poisonous as the flower for which the film is named. She tries to control the lives of every man that enters her self-molded world and also controls her own daughter, teaching her that no one is as perfect and well-rounded as they are.
Her performance makes you hate and love her at the same time. Despite limited screen time, you feel her presence in every frame and every moment. This is remarkable acting.
Robin Wright Penn turns in an equally fine performance as Astrid’s first foster mother, Starr. An ex-stripper turned Jesus freak, she is so hard to recognize in this role, I didn’t recognize her until the credits rolled. Her performance spoke of insecurity and a longing to be loved. She was strong without being overbearing.
Renee Zellweger also turned in a stunning performance as Claire. She, too, is a foster mother with deep issues. Wanting to find a child to supply the love her husband doesn’t give and the support she hasn’t earned as an actress, Zellweger is tragic and moving. Cast against type, she proves she has earned her stripes as an actress.
With that said, the true star of this film is Lohman. It’s sad to see all of the buzz going to Pfeiffer when this is the film that made Lohman a star in her own right. Her portrayal of Astrid’s journey of self-discovery and acceptance is brilliant. And though the script leans toward melodrama at times, she handles the material with ease and grace. The rich detail of her character points toward striking character flaws and evocative images.
Her performance is haunting as she moves through transitions in her life. Once she is freed from her mother’s destructive influence, she finds rebirth as a Christian. She then moves to being a pampered girl and ultimately ends up street-wise. She never loses the underlying sensitivity and longing we see in the first frames.
This is a dark and complex film with poignant moments. Still some were so subtle, I would have liked to see more. But that is the art of movie-making – giving enough to move the audience without spoon-feeding them. And this film delivers. It is spellbinding and real, something Hollywood often can’t capture.
Justin Berry is doing a second bachelor in theater. Comments can be sent to jsberry@hotmail.com.