White Oleander is a 2002dramafilm directed by Peter Kosminsky. It was adapted to screenplay by Mary Agnes Donoghue from Janet Fitch's novel. The cast includes Michelle Pfeiffer, Renee Zellweger, Robin Wright Penn, and newcomer Alison Lohman. 2002 is a common year starting on Tuesday of the Gregorian calendar. ... Drama is a term generally used to refer to a literary form involving parts written for actors to perform. ... Film refers to the celluloid media on which movies are printed Film is a term that encompasses motion pictures as individual projects, as well as the field in general. ... Janet Finch is the author of the novel White Oleander, which became a film in 2002. ... Michelle Pfeiffer on the cover of Newsweek Michelle Pfeiffer (born April 29, 1958) is an American actress and singer. ... Renée Kathleen Zellweger (born April 25, 1969 in Katy, Texas) is an Academy Award-winning movie actress. ... Robin Virginia Wright-Penn (born April 8, 1966) is an American film actress who first became famous on television, playing Kelly Capwell on the soap opera Santa Barbara. ... Alison Lohman (born September 18, 1979) is an American actress who was born in Palm Springs, California. ...
The novel was a popular member of Oprah's Book Club. Oprahs Book Club is a popular book club as decided on by talk show host Oprah Winfrey. ...
Tagline: Where does a mother end and a daughter begin?
Plot
The film is a coming-of-age story about a child in foster care dealing with her separation from her mother and a series of additional traumas. It is both tragic and celebratory in its depiction of Astrid's treatment and resilience.
WhiteOleander 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.
WhiteOleander is presented in a nicely done anamorphic widescreen transfer in the films original theatrical aspect ratio of 1.85:1.
WhiteOleander manages to maintain a somewhat soft appearance by design and its evident that grain was not the overriding factor in the vast majority of these scenes.
WhiteOleander goes through the paces with a little more dignity than usual, which is a mark of either director Peter Kosminsky's refusal to overplay the melodrama, or his inability to wring it for all it's worth.
The overwrought WhiteOleander may be middling drama, but if it bears any resemblance to truth (which I doubt), it's a brutal indictment of the L.A. County Department of Social Services.
WhiteOleander is one of the toughest movies to rate.
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