Astrid Magnussen is a 15 year old girl, living in California. Her mother, Ingrid, is a beautiful, free-spirited poet. Their life, though unusual, is satisfying until one day, a man named Barry Kolker (that her mother refers to at first as "The goat man") comes into their lives, and Ingrid falls madly in love with him, only to have her heart broken, and her life ruined. For revenge, Ingrid murders Barry with the deadly poison of her favourite flower: The White Oleander. She is sent to prison for life, and Astrid has to go through foster home after foster home. Throughout nearly a decade she experiences forbidden love, religion, near-death experiences, drugs, starvation, and how it feels to be loved. But throughout these years, she keeps in touch with her mother via letters to prison. And while Ingrid's gift is to give Astrid the power to survive, Astrid's gift is to teach her Mother about love.Written by
In the film, Ingrid is an artist, while in the book she is a writer - showing an artist working was deemed more watchable than showing a writer writing. See more »
Astrid says her father left when she was two years old when she talks with Ray, but toward the end of the movie, Ingrid tells Astrid her father left when she was six months old. See more »
How long were you gone?
About a year, give or take a few months.
You're not asking the right question. Don't ask me why I left. Ask me why I came back.
You should have been sterilized.
I could have left you there, but I didn't. Don't you understand? For once, I did the right thing! When I came back, you knew me. You were sitting by the door, and you looked up, and you reached for me. It was as if you had been waiting for me all along.
I was always waiting for you, mother. That's the ...
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Additional scenes featured on the DVD release that is not from the final print:
A scene where Astrid defends her brother (in the first foster home) after Starr beats him up.
A scene immediately after featuring Astrid and her brother (still in the first foster home) lying to the parademic asking how he broke his arm.
A scene where Claire can't decide which cereal they want to eat for breakfast and makes Astrid choose one.
A scene featuring Claire and Astrid riding home in the car after visiting Ingrid (Michelle Pfeiffer). Claire tells Astrid what Ingrid told her.
A scene where Astrid is drawing Claire's picture and Mark asking Astrid if she took his pen.
A scene where Astrid leaves to go back to Mac. Mark asks Astrid if she wants to go to Claire's funeral in which she declines to. He then gives her a lot of money before getting to the van.
It's been a while since I've seen as good a job at depicting the effects of a strong but flawed mother on her strong but impressionable daughter.
"White Oleander," adapted from Janet Fitch's best-selling novel, is hard and edgy about the bond between single mother and daughter, letting us see the reality of a strong artistic mother (Michelle Pfeiffer) tyrannizing her gifted daughter (Alison Lohman). After murdering her lover, mom goes to prison and daughter goes on an odyssey of self discovery in foster families, reminiscent of Burt Lancaster's episodic journey in John Cheever's `The Swimmer.'
In the first home, Robin Wright Penn's fundamental Christian presides over a frenetic household but reveals the sweet chaos of people who really love each other. In the next home, vulnerable actress, foster mom Renee Zellweger brings intimate caring to Lohman at an emotional price. Russian rag picker Svetlana Efremova brings hard-nosed business into Lohman's sights to complete an education of survival. Lohman finds loving understanding with Patrick Fugit, another artist in her life, but one without an agenda.
It's been a while since I've seen as good a job at depicting the effects of a strong but flawed mother on her strong but impressionable daughter. `Divine Secrets of the Ya-Ya Sisterhood' tried with Ellen Burstyn as mother and Sandra Bullock as daughter, but the film failed to engage beyond a few shouts and eccentric southerners. `Oleander' has a brilliant artist manipulator teaching her daughter to be independent, even cold, to survive, yet the daughter has a need to be loved that draws her to older men, Christianity, and rebellion. Her psychic search for her absent father serves only to exacerbate the matter.
Pfeiffer does her best work here-- beautiful even in prison, she plays an ugly soul capable of the worst emotional tyranny over her sensitive, intelligent daughter, played with heart-breaking insight by Lohman. I was pleased with Kirsten Dunst last year in "crazy/beautiful." Just substitute Alison Lohman this year.
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