Description

White Oleander chronicles the life of Astrid (Alison Lohman), a young teenager who journeys through a series of foster homes after her mother (Michelle Pfeiffer) goes to prison for committing a crime of passion. Set adrift in the world, Astrid struggles to become her own person while coming to terms with the challenges of living life on her own. ... Read more

Reviews (78)

Memorable Performances in a Highly Dramatized Movie
White Oleander, featuring Michelle Pfeiffer and Alison Lohman, is the movie based on the book by Janet Fitch. Viewers of the Oprah Winfrey daytime television show and readers will recall that this book was one of Oprah's book club selections. Now this compelling and disturbing book has been brought to the silver screen in what many viewers will agree was an intriguing and well-crafted movie. And rarely, if ever in my opinion, has a movie been so finely done or as faithful to the book as was done in this movie. In addition the cast was well chosen and the performances are creatively superb, handling a most difficult subject.

Michelle Pfeiffer, in the lead role, plays Ingrid Magnusson, a single parent and artist who is raising her adolescent daughter Astrid played by Alison Lohman. Ingrid is an incredibly selfish woman with a Bohemian lifestyle who treats Astrid more like a friend than her child. While Ingrid's life is dictated by her passions and whims, Astrid is merely a bystander to the lifestyle Ingrid dictates for them. When she is angered by the rejection of her current lover and while Astrid sits in their car, Ingrid poisons her lover with the inner juice of a white oleander plant ultimately killing this man. When Ingrid is arrested by the police, Astrid is removed from their home by social services and becomes a ward of the state. Now the focus of the movie shifts from Astrid as Ingrid's daughter and work in progress to Astrid, a child who will become much too familiar with the foster care system in Southern California. Unfortunately for Astrid, the foster homes she stays in are less than happy situations for her and she also must contend with Ingrid's views of her foster mothers as she goes from home to home, learning more about the seamier side of life than any child should have to learn at this pivotal time in her life. And all the while Astrid remains loyal to Ingrid as she continues to be subjected to her when she visits Ingrid in prison.

This is a movie populated mainly by an all female cast. Michelle Pfeiffer plays Ingrid with a mixture of anger and compassion about her situation and Astrid's circumstances. And both Renee Zellwegger and Robin Wright Penn shine as two very different types of foster mothers who greatly influence Astrid's life. But if the movie belongs to one actor it is Astrid played by Alison Lohman who shines as the confused young woman forced to face life as an adult way before her time. And the last scene as Astrid becomes an artist in her own right and creates valises filled with the faces and objects of her life which remains with the viewer long after the movie ends.

I found this to be an excellent movie especially since I read the book. The director and other associates are to be commended for tastefully presenting a difficult subject to the audience in such a fine manner. One is left with a feeling of hope that Astrid, despite her early difficulties will succeed as an adult.

doesn't live up to the power of the book
A film by Peter Kosminsky

"White Oleander" is the story of one girl's experience through the foster care system as she learns who she is, what she wants, and who she does not want to be. This is the story of Astrid (Alison Lohman), a 15 year old girl who is living with her mother, Ingrid (Michelle Pfeiffer). Ingrid is an "artist", with all of the pretensions that you can stereotype onto one character. Ingrid believes the way she does and anyone who does not believe as she does (about anything) is being intellectually dishonest. She encourages Astrid to think for herself, but it seems only if that means that Astrid's conclusions agree with Ingrid. Things would probably stay as they are, but when Ingrid is arrested for murder, Astrid is put into foster care and the movie truly begins.

Astrid spends relatively brief stays with several foster homes. We see her at the home of Starr (Robin Wright Penn), a white trash born again Christian who speaks about Jesus an awful lot, but may not live like a Christian. Problems arise, and Astrid is moved to the orphanage to another home, that of Claire (Renee Zellweger). Claire is, to Astrid's view, the perfect foster mother. But, like before, something happens and she is moved to another home, that of Rena (Svetlana Efremova). Rena is an immigrant (from Russia?) and is entirely about making money. Through each of the stays in a foster home, Astrid is blending her personality with that of the foster mother, trying to figure out who she is. While this is happening, Astrid stays in touch with her mother and this is where we see the most growth for Astrid, in how she interacts with her mother.

It is not fair to compare a movie with the book which it is based on because they are two entirely different forms of media, but sometimes a brief comparison needs to be mentioned. The film is filled with talented actresses and they turn in fine performances, but the film is missing "something" that keeps it from being a truly excellent film. The novel has a lot of emotional power that the film lacks (though there is one scene in particular that is very powerful, closer to the end of the film). That power is part of the "something" that is missing. There is nothing that is actually wrong with the film (despite some complaints with the ending), and it is competent, but it is simply not special at all. Alison Lohman, on the other hand, is an actress to watch.

Stick to Tea
Men covet the hunt and women desire the perfect nest, so when we see a story about women and these women suffer in melodramatic fashion, we say this is a "Chick Flick." The men leave the room to drink beer in the garage. Well "White Oleander" did not threaten my burly manhood. I found the story compelling. I rooted for young teen, Alison Lohman. Her mother, Michelle Pfeiffer poisons a lover in a jealous rage. Consequently mom is arrested and gets 30 years in the slammer. Alison is shuttled from foster home to orphanage. Alison falls for the man toy of a Jesus freak and gets shot. Then terror girls at the orphanage jump her and she gets even. Renee Zellweger is L.A. as a substitute mom even if she is suicidal. The final foster home is all drugs and punk. So we see Allison morph from innocence to a worldly punk chick. Pfeiffer has a Feminist-Goddess hold on her daughter even from prison and her daughter must break away. This is the weakest part of the story, muddled. After all, mom should have kept her feminist panties on and her poison Oleander in the garden.

Bad movie!
This movie was very superficial, we don't feel it real, it go to one situation to another without exploring it enough.

...
It's a terrible representation of foster care, but a great representation of a child trying to shake away from the grips of an overbearing mother. Astrid, the main character, is desprately trying to find herself, but having difficulty as her mother, who has been sent to jail for murder, tries to control her from behind bars.

Astrid's mother is a sick and manipulative woman. That's one thing you know right off the bat. She claims to be an artist, but she knows nothing about true beauty. She claims to be protecting her daughter, but she really doesn't care either way. She claims to want her daughter to think for herself, but in reality, she tries desperitly to do all her thinking for her.

This movie has very interesting characters. Watching Astrid go from a fairly naive girl to a hardened woman is disturbing, but understandable. All in all, it's a good movie. ... Read more

Reviews (101)

An unforgettable rendition of this classic
I was amazed when I read that this British production was not well received upon its release in 1992. The highly talented pair of Juliette Binoche and Ralph Fiennes play the doomed Cathy and Heathcliff, supported by the equally fine Janet McTeer as Ellen Dean. The performances are exemplary--Fiennes' performance is said to have inspired Steven Spielberg to cast him as the Nazi commandant in "Schindler's List." And a diabolical Heathcliff he is, indeed--Fiennes plays this intense role faithful to Emily Bronte's original character. He is tormented, sadistic, manipulative, ruthless and brutal--and nonetheless hypnotically sexual and alluring. This is the genuine Heathcliff, with all apologies to the brilliant Laurence Olivier, who portrayed Heathcliff as a much more sympathetic character. Juliette Binoche plays both Cathy and Cathy's daughter by the ineffectual Edgar Linton, and brings great depth and appeal to both roles. The scenes of the bleak Yorkshire moors, and the haunting, shadowy quality of the Wuthering Heights house, lend this film a truly Gothic atmosphere. A jarring note is the casting of Sinead O'Connor (in a wig) as Emily Bronte, but this is a minor flaw. I found this version every bit as good as the original 1939 classic, to which this film has been unfairly compared. It is much more faithful to the brooding, doomed quality of the book. The scenes acted by Fiennes as the grief-stricken Heathcliff just after Cathy's death are alone worth the price of the film. For the many fans of these two brilliant actors, and of Bronte's novel, this film is well worth seeing. END

Wonderful adaptation of great book.
The English Patient costars Ralph Fiennes and Juliette Binoche star in this brilliant adaptation of Emily Bronte's Wuthering Heights.

Having just recently read and enjoyed the book, I had a look at this on the weekend. It's very well done. Wonderful cinematography, great acting by Fienne's as Heathcliff has a haunting music score and moves along very nicely. Unfortunately the copy I got was only pan and scan but this one is in widescreen which would look really good.

I'd recommend reading the book first so you have something to compare it to. Considering all the rubbish coming out these days, I'd rather watch Wuthering Heights anytime.

Thanks for reading.

For the love of god, avoid this film
This film has soiled the movie industry for me, with its sickening sentimentality, and total disregard for the text.

Wuthering Heights, the book, is not a straightforward love story. It's complex, dark, and intelligent. Cathy and Heathcliff are not textbook lovers. In fact, they are not lovers at all. Mostly, they're just mad people, who have a very deep connection.

This film, is a love story. The writers have taken the characters and plot, raped, pillaged, violated and completely mutated them, leaving only their names intact. Cathy is turned from a volatile, spoilt maniac, into a flailing heroine. Heathcliff is turned from a ferocious, abusive animal, into a romantic hero

It's an alright film, if you want a love story. If you've read the book, do not watch this film. The rich tapestry of human emotion, thought and sanity explored within the book is quite simply absent in the film.

Not a Period Piece
I'm quite familiar with the book, and I think the actors did a good job depicting its stormy and self-destructive passions. However, I was continually distracted by the poor quality of the sets, costumes, and hairstyles. The lintel of the Wuthering Heights house door--shown close up suspiciously detached from the rest of the house--bears a date of 1501. The house, when shot from outside as a whole, is late Victorian gothic fantasy gingerbread, probably a real mansion built by a wealthy industrialist. Although if the rock garden outside it is real the landscape artist should be shot. The interiors do not relate to the rest of the house, and some--particularly the rude stone fireplace in the kitchen--are probably purpose-built sets. Cathy Earnshaw's box bed appears to have been concocted from a circa 1905 oak wardrobe. The Art Nouveau decoration on the double doors is a dead giveaway. The female leads have purely late 20th-century faces, hairstyles, and mannerisms. "Shot on location on the moors" this film may be. But, although the moors are fine, the rest of the visual aspects will damage the film for viewers who are sensitive to such things.

The only film version of "Wuthering Heights" worth seeing
I waited YEARS for this film to be released on DVD, and it is now one of the brightest gems in my movie collection. If you're looking for the best adaptation of Emily Bronte's novel, then this is the film for you. Juliette Binoche and Ralph Fiennes are perfectly cast as Catherine and Heathcliff, and although they both do a superb job, Fiennes steals the show as Heathcliff. The scenes leading up to and directly following Catherine's death are absolutely heartbreaking, and I cry every time I watch it! Binoche is wonderful in her dual role, and this is the only film version of "Wuthering Heights" that manages to accurately depict the beauty of Bronte's novel. ... Read more

Description

White Oleander chronicles the life of Astrid (Alison Lohman), a young teenager who journeys through a series of foster homes after her mother (Michelle Pfeiffer) goes to prison for committing a crime of passion. Set adrift in the world, Astrid struggles to become her own person while coming to terms with the challenges of living life on her own. ... Read more

Reviews (78)

Memorable Performances in a Highly Dramatized Movie
White Oleander, featuring Michelle Pfeiffer and Alison Lohman, is the movie based on the book by Janet Fitch. Viewers of the Oprah Winfrey daytime television show and readers will recall that this book was one of Oprah's book club selections. Now this compelling and disturbing book has been brought to the silver screen in what many viewers will agree was an intriguing and well-crafted movie. And rarely, if ever in my opinion, has a movie been so finely done or as faithful to the book as was done in this movie. In addition the cast was well chosen and the performances are creatively superb, handling a most difficult subject.

Michelle Pfeiffer, in the lead role, plays Ingrid Magnusson, a single parent and artist who is raising her adolescent daughter Astrid played by Alison Lohman. Ingrid is an incredibly selfish woman with a Bohemian lifestyle who treats Astrid more like a friend than her child. While Ingrid's life is dictated by her passions and whims, Astrid is merely a bystander to the lifestyle Ingrid dictates for them. When she is angered by the rejection of her current lover and while Astrid sits in their car, Ingrid poisons her lover with the inner juice of a white oleander plant ultimately killing this man. When Ingrid is arrested by the police, Astrid is removed from their home by social services and becomes a ward of the state. Now the focus of the movie shifts from Astrid as Ingrid's daughter and work in progress to Astrid, a child who will become much too familiar with the foster care system in Southern California. Unfortunately for Astrid, the foster homes she stays in are less than happy situations for her and she also must contend with Ingrid's views of her foster mothers as she goes from home to home, learning more about the seamier side of life than any child should have to learn at this pivotal time in her life. And all the while Astrid remains loyal to Ingrid as she continues to be subjected to her when she visits Ingrid in prison.

This is a movie populated mainly by an all female cast. Michelle Pfeiffer plays Ingrid with a mixture of anger and compassion about her situation and Astrid's circumstances. And both Renee Zellwegger and Robin Wright Penn shine as two very different types of foster mothers who greatly influence Astrid's life. But if the movie belongs to one actor it is Astrid played by Alison Lohman who shines as the confused young woman forced to face life as an adult way before her time. And the last scene as Astrid becomes an artist in her own right and creates valises filled with the faces and objects of her life which remains with the viewer long after the movie ends.

I found this to be an excellent movie especially since I read the book. The director and other associates are to be commended for tastefully presenting a difficult subject to the audience in such a fine manner. One is left with a feeling of hope that Astrid, despite her early difficulties will succeed as an adult.

doesn't live up to the power of the book
A film by Peter Kosminsky

"White Oleander" is the story of one girl's experience through the foster care system as she learns who she is, what she wants, and who she does not want to be. This is the story of Astrid (Alison Lohman), a 15 year old girl who is living with her mother, Ingrid (Michelle Pfeiffer). Ingrid is an "artist", with all of the pretensions that you can stereotype onto one character. Ingrid believes the way she does and anyone who does not believe as she does (about anything) is being intellectually dishonest. She encourages Astrid to think for herself, but it seems only if that means that Astrid's conclusions agree with Ingrid. Things would probably stay as they are, but when Ingrid is arrested for murder, Astrid is put into foster care and the movie truly begins.

Astrid spends relatively brief stays with several foster homes. We see her at the home of Starr (Robin Wright Penn), a white trash born again Christian who speaks about Jesus an awful lot, but may not live like a Christian. Problems arise, and Astrid is moved to the orphanage to another home, that of Claire (Renee Zellweger). Claire is, to Astrid's view, the perfect foster mother. But, like before, something happens and she is moved to another home, that of Rena (Svetlana Efremova). Rena is an immigrant (from Russia?) and is entirely about making money. Through each of the stays in a foster home, Astrid is blending her personality with that of the foster mother, trying to figure out who she is. While this is happening, Astrid stays in touch with her mother and this is where we see the most growth for Astrid, in how she interacts with her mother.

It is not fair to compare a movie with the book which it is based on because they are two entirely different forms of media, but sometimes a brief comparison needs to be mentioned. The film is filled with talented actresses and they turn in fine performances, but the film is missing "something" that keeps it from being a truly excellent film. The novel has a lot of emotional power that the film lacks (though there is one scene in particular that is very powerful, closer to the end of the film). That power is part of the "something" that is missing. There is nothing that is actually wrong with the film (despite some complaints with the ending), and it is competent, but it is simply not special at all. Alison Lohman, on the other hand, is an actress to watch.

Stick to Tea
Men covet the hunt and women desire the perfect nest, so when we see a story about women and these women suffer in melodramatic fashion, we say this is a "Chick Flick." The men leave the room to drink beer in the garage. Well "White Oleander" did not threaten my burly manhood. I found the story compelling. I rooted for young teen, Alison Lohman. Her mother, Michelle Pfeiffer poisons a lover in a jealous rage. Consequently mom is arrested and gets 30 years in the slammer. Alison is shuttled from foster home to orphanage. Alison falls for the man toy of a Jesus freak and gets shot. Then terror girls at the orphanage jump her and she gets even. Renee Zellweger is L.A. as a substitute mom even if she is suicidal. The final foster home is all drugs and punk. So we see Allison morph from innocence to a worldly punk chick. Pfeiffer has a Feminist-Goddess hold on her daughter even from prison and her daughter must break away. This is the weakest part of the story, muddled. After all, mom should have kept her feminist panties on and her poison Oleander in the garden.

Bad movie!
This movie was very superficial, we don't feel it real, it go to one situation to another without exploring it enough.

...
It's a terrible representation of foster care, but a great representation of a child trying to shake away from the grips of an overbearing mother. Astrid, the main character, is desprately trying to find herself, but having difficulty as her mother, who has been sent to jail for murder, tries to control her from behind bars.

Astrid's mother is a sick and manipulative woman. That's one thing you know right off the bat. She claims to be an artist, but she knows nothing about true beauty. She claims to be protecting her daughter, but she really doesn't care either way. She claims to want her daughter to think for herself, but in reality, she tries desperitly to do all her thinking for her.

This movie has very interesting characters. Watching Astrid go from a fairly naive girl to a hardened woman is disturbing, but understandable. All in all, it's a good movie. ... Read more