by Chrissy Zehrbach
Staff Writer
How do you find yourself when you’re lost in a world without those closest to you?
“White Oleander” answers this question as it follows its main character on her journey to self discovery.
Based on the novel by Janet Fitch and directed by Peter Kosminsky, “Oleander” stars Michelle Pfeiffer, Renee Zellweger, Noah Wyle, Robin Wright-Penn and Alison Lohman.
Astrid (Lohman), a young teenage girl, lives alone with her mother, Ingrid (Pfeiffer). Ingrid, an artist, is self centered and manipulative, yet somehow Astrid worships her.
After Ingrid is arrested for the murder of her cheating boyfriend, Astrid is forced to go into the foster care system.
Astrid’s first foster mother is a jealous, trashy, alcoholic, born-again-Christian woman named Starr (Wright-Penn). She lives with her married boyfriend and her three other children, all crammed into the same small house where Astrid’s presence causes domestic issues to arise.
Astrid then finds herself in a group home where she encounters new enemies and challenges, but also a love interest, whom she develops a bond with through art, before moving on to foster home number two.
This time Astrid moves in with Claire (Zellweger), a lonely, suicidal actress who believes her husband (Wyle) is cheating on her.
It is apparent that Claire and Astrid need each other as they begin to grow closer together. The relationship formed is beneficial to both Astrid and Claire but looked down on by Ingrid.
After more trauma, Astrid once again finds herself back in the group home before landing in a third foster home.
Through this physical and emotional upheaval, Astrid’s identity begins to change, as does her opinion of her mother.
She finds a better understanding of herself and her mother as we learn the truth about their relationship and the murder through flashbacks. As she moves on in her life, she also learns about letting go.
“Oleander” does a commendable job portraying the sensitive subjects encountered in the movie.
There is no Hollywood commercialization, only a realistic view of everything from foster life to relationship hardships.
The pacing of the film was disconcerting. Some scenes seemed to go too fast leaving too many unanswered questions, where other scenes lingered on with silence and repetitive music.
The acting, on the other hand, was consistently excellent. Although it is hard to picture Pfeiffer as a free spirited artist, she is convincing in her role.
Zellweger looks the worst she ever has on screen, but her appearance fits the character, as does her portrayal of the fragile Claire.
The best acting in the movie comes from Lohman. She is a rising young star who takes control of her scenes with believable emotions.
Still, somehow “Oleander” does not touch you the way it should. The glue that holds the movie together is the acting. The performances from this strong cast of women deserves recognition.
“Oleander” lured viewers into theaters with tempting previews, but do not believe the hype – wait for it on video.
