White Oleander

I have not read Janet Fitch’s novel upon which the new film White Oleander was based, but if the film is as faithful to the book as many people have reported, it must have been some kind of read. The movie version focuses around Ingrid Magnussen (Michelle Pfeiffer) and her daughter Astrid (newcomer Alison Lohmann). Ingrid is what can only be described as a force of nature—someone who imposes her will upon the people around her at any cost. Astrid accepts her mother’s will unquestioningly until the day that Ingrid meets Barry (Billy Connelly) and falls helplessly in love with him. When he turns out to be less than faithful to her, Ingrid murders him with the poison from the rare white oleander flower and is sent to prison. Ingrid’s crime forces Astrid into an entirely different type of prison, California’s Child Protective Services. It is here that Astrid begins two very different journeys: A physical one that will move her from foster home to foster home, and an emotional one which will make her question everything she blindly believed about her mother and the world at large.

Among the people she meets on her journey are Starr (Robin Wright-Penn), an ex-stripper who has found God, and Ray (Cole Hauser), her sexy yet untrustworthy boyfriend; Claire Richards (Renee Zellweger), a B movie actress with self esteem issues; and Paul Trout (Patrick Fugit), a fellow ward of the court who becomes a confidant to Astrid. All the while Ingrid is keeping tabs on her daughter, determined not to lose her iron hold on the girl.

Oleander is lucky to have a powerhouse cast all the way around. Pfeiffer is incredible as Ingrid, her eyes almost glowing like a viper, ready to strike at any moment. This is the closest she has played to a villain since Catwoman, and her enthusiasm for the role shows. Penn, perfect in the role of a woman teetering on the edge at any given moment, needs to work more often. Zellweger is great at capturing both the joy and the sadness in her character. Fugit’s subtle work proves Almost Famous was no fluke. Hauser, as Uncle Ray, has limited screen time, but spends most of it either with his shirt off or seducing Astrid. Despite this, he manages to avoid making Ray come off as sleazy or lecherous. Women are bound to take notice of him. But it is Lohmann who is the film’s biggest asset and its biggest surprise. With no big credits to her name, not only did she manage to nab the lead in a big budget film with a name cast, she successfully becomes the center of the film while never hitting a false note. She makes Astrid transformation from her mother’s daughter to her own woman compelling and true. There is a power and depth in the scenes she shares with Pfeiffer, especially towards the end of the film. And the voiceover Lohmann ends the film with is killer. It would be a shame if both she and Pfeiffer were ignored at award time.

Despite the powerful cast, there are times when it feels like the film is missing crucial pieces. This is especially apparent when Astrid goes to live with a group of girls who make and sell items they find in dumpsters at a local flea market. Astrid changes so quickly in such a short period of time without explanation, you can’t help but think that there is some piece of information you’re missing. It’s that nagging feeling that keeps White Oleander from greatness. Still, British director Peter Kosminsky and screenwriter Mary Agnes Donohue (who wrote the femme-fest Beaches) have created an entertaining showcase for some amazing actors to do some of their best work.

Submitted 09 November 02. Posted 06 December 02.