Almost There: Michelle Pfeiffer in "White Oleander"
Friday, February 19, 2021 at 10:58AM 
This past weekend, actressexuals and Pfeiffer pfans were scandalized when Lucas Hedges revealed he had never seen a movie starring Michelle Pfeiffer before working with her on French Exit. I kid, while also admitting I was surprised. Being only two years older than Hedges, I've seen plenty of Pfeiffer movies as have many of my friends, ranging from work by renowned auteurs to blockbuster fare. Hers is a varied filmography. She may have only been nominated thrice for the Oscars, but Michelle Pfeiffer has delivered a fair share of awards-worthy star turns and her range is quite expansive. Equally brilliant in big leading parts and small supporting roles, broad comedy and thrilling drama, Pfeiffer is one of my favorite actresses and I'd love nothing more than to share my adoration with you, dear readers.
With that in mind, let's delve into one of the best performances in her resume. Maybe more than any other of her other films, White Oleander got Michelle Pfeiffer very close to that elusive fourth Oscar nod…
Adapted from the Janet Flitch novel, White Oleander revolves around fifteen-year-old Astrid Magnussen, daughter to a dazzling and dangerous artist called Ingrid. Like the flower that gives the film its name, the free-spirited matriarch is a pale beauty, a strong creature who hides a poisonous heart within and can kill those who are too foolish to think her harmless. That's what happens to an ex-boyfriend of hers. Upon his murder, Ingrid is imprisoned and Astrid is unmoored, floating from foster home to foster home, redefining her image with each new source of attention that happens to cross her path. In many ways, it's a story of self-discovery and growth, of identity eroded, reformed, re-imagined, brought down and built back up. More than anything, though, it's a story about the trauma of a mother-daughter relationship that's as unforgiving as Pfeiffer's cold stares.
The actress plays Ingrid who enters the film sitting on the edge of the roof on a warm autumn night, enjoying the Santa Ana winds as she looks down on the glistening Los Angeles landscape. She's like a goddess purveying the earthly realm, a queen regarding her lowly subjects, a siren calling to her daughter with a song of destruction. When she suggests the young woman come closer, there's an authority to the tone, a demand dressed as casual affection. She pulls on the girl's arm, so vigorously it's almost violent. It's risky too when one considers the deadliness of a potential stumble, a fall. That she follows this gesture with an embrace and loving caress tells us a lot about their dynamic.
For how deceitful Ingrid might be, Pfeiffer's performance is always clear, transparent, obstinately so. She plays the monster at the center of White Oleander as an evil that does very little to hide its true face but expects the world to be dazzled and bend the knee nonetheless. Her limpid eyes, for example, gaze into everything and everyone with the intensity of a carnivorous reptile assessing its prey. Every maternal expression feels like it can turn into a sneer at any moment. There's a ravenous snarl always waiting on the sidelines, ready to take center stage. Her tears feel aggressive as well, sadness tainted with rage.
Nothing is freely given with this mother and, even if it seems like there's no fee, you'll pay the price eventually. Her love is deeply conditional and forbiddingly expensive. Her disdain, on the other hand, is much cheaper. Anyone can have that and they often do, whether they like it or not. That being said, one can sometimes perceive a hint of tenderness through the sharp edges of the characterization. By the time we get to that soft center, we've been cut to smithereens, bloody gashes all over our bodies, our souls ravaged by the pointy cheekbones and even pointier words. Still, we can't help ourselves, we need to get closer.
Ingrid's only constant is that complicated love for her daughter. It's toxic love, true, more poisonous than nourishing, and a reflection of self-regard rather than deep caring for another human being, but it's still a kind of love. We see the danger but we don't turn away, each subtle kindness stringing us and Astrid along. Like the sun, we're attracted to Ingrid, pulled by the gravity of a star. Like the sun, we're burned to a crisp by the fire, the uncaring flame, the cruel heat. She's luminous, incandescent, a movie star through-and-through. Such power informs the way the role registers with the audience. This killer artist's innate charisma has been turned on its head, long before we ever lay eyes on her, twisted into a new biting version of itself. Pfeiffer has never been scarier.
That's evident when Ingrid meets Claire, an insecure childless actress played by Renée Zellweger. She's Astrid's new foster mom and a fragile person who, akin to a porcelain doll, is prone to shatter if pushed too hard. Ingrid can smell weakness from a mile away and Claire stinks of it, her frailty plain to see and ready to be taken advantage of. Ingrid sees the doll-like quality of the other woman and is ready to shatter her. One can feel the dread twisting in the stomach as the Pfeiffer grins an insincere smile. In these moments, the actress performs Ingrid as a Cheshire cat playing with a poor mouse, clawing at it before biting down and detaching its head from the twitchy body. What's more, she savors every instant of the protracted kill.
Unexpectedly, at her worst, Ingrid still feels human. That's the genius of Michelle Pfeiffer's performance. Her selfish manipulations, her icy countenance, her destructive instincts, it all works together. They're pieces of a machine that fit to make a terrifyingly believable human being. So finely tuned is Pfeiffer's craft, in fact, that we can see the precise instances when Ingrid drops the act and is sincere. In her final scenes, the thespian unravels her character without revealing a performer's judgment, extending generosity to this wretched woman even as her painful confessions reveal the lacerating essence of her self-absorption. It's a haunting achievement, all the more impactful because of how uncompromised it feels in its embrace of the feminine grotesque, the beautiful perversion of motherhood, and its barbed embrace.
During the 2002-2003 awards season, Pfeiffer got some well-deserved acclaim for this malicious tour de force. Both the critics' societies of Kansas and San Diego awarded her with their Best Supporting Actress prizes and she was nominated by the WAFCA too. Her biggest get, as far as precursors go, was a SAG nomination. Considering how consistent that year's lineup was across awards bodies, it's fair to say that such a high-profile nomination means she was probably in sixth or seventh place come Oscar nomination morning. AMPAS' chosen five were Kathy Bates for About Schmidt, Julianne Moore for The Hours, Meryl Streep for Adaptation, as well as both Catherine Zeta-Jones and Queen Latifah for Chicago. Zeta-Jones won both the Oscar and the Supporting Actress Smackdown. While it's hard to argue against that result, I'd argue Pfeiffer outperforms all of the Best Supporting Actress nominees. She's my winner too.
White Oleander is currently streaming on HBO Max. You can also rent it from a variety of services like Amazon and Youtube.
Reader Comments (55)
Should have had the Oscar and has she ever looked more beautiful and haunting than in this film,stellar performance in a sub par film.
This year showed coatails are everything.
LOL Nathaniel
at least have the guts to sign this!
Her scene with Zellweger is fantastic, it was a strong lineup, maybe I would put Latifah out or move Moore to the leading category.
Her momentum was kinda derailed by the Golden Globe snub. She would've been in a better position had she gotten noms for both Globe and Sag.
Should have easily won the Oscar.
Can I just also commend the San Diego Film Critics Awards? Since their inception, in almost every season they've come through by honoring an actress that has gotten little (if any) awards love elsewhere. Some examples through the years:
Sally Hawkins, MAUDIE
Sonia Braga, AQUARIUS
Michelle Pfeiffer, WHITE OLEANDER
Joan Allen, THE UPSIDE OF ANGER
Thora Birch, GHOST WORLD
Susan Sarandon, STEPMOM
I like Michelle in this but it’s a real stretch to say she was better than all the other nominees (she would have been nominated if that were true). It’s kind of sudsy melodrama. Michelle is memorable but I don’t think the part was much of a reach for her.
I love Michelle, but the movie itself isn't at all spectacular. More than that, she was much better many times. Which doesn't mean it's a weak performance, not at all. It still remains the main reason for seeing it.
My 2002 nominees would have been
Pfeiffer
Streep
Clarkson
Zeta Jones
Bates.
This is actually my favorite Pfeiffer performance, but I'm not a superfan or completest, so I have missed some of her major roles. She's completely spellbinding in White Oleander. Just like Astrid is lost without her, so would the movie be without her presence.
Another year where Oscar flubbed the nominees despite some very good contenders in the mix right up until the end. Among the likely field, should've been:
Michelle Pfeiffer, "White Oleander"
Patricia Clarkson, "Far From Heaven"
Catherine Zeta-Jones, "Chicago"
Meryl Streep, "Adaptation"
Samantha Morton, "Minority Report"
I do not see her performance as an Oscar one. This site has made her a goddess and I think it. clouds the mind.
Easily my winner in 2002. Her not getting nominated was surely an oversight but in the year 2002 it seemed you couldn't be nominated as your films sole representation unless your name was Michael Caine. That is my least favourite thing about the oscars is they usually nominate supporting women from films they are nominated in other areas which is really brushing by many performances. My lineup for 2002 would've been:
Patricia Clarkson, Far from Heaven
Isabelle Huppert, 8 Women
Emily Mortimer, Lovely & Amazing
*Michelle Pfeiffer, White Oleander
Miranda Richardson, Spider
We watched this on a mother-daughter viewing night. Such a great movie with a wonderful cast all across the board. Pfeiffer was so scary, chilling, unforgettable.
Since then, when we have tough times, we say to each other, remember we are Vikings. Both to give ourselves courage, and to take thought of how our actions might affect others.
(We also say, that looks real cute on you hon. Many different kinds of scary).
Eoin -- i agree. it all comes down to the simple fact that they dont watch enough movies AND the precursor awards have so little disagreement or imagination that things get narrowed down for them even further so they dont really hav eto think about it at all when they go to votee. Given that art is subjective you should come into balloting each season with at least 10 viable options. Not already narrowed down for you to 6 for 5 slots. I really think critics have done the Oscars a disservvice in this way by all being "teeam this orr team that" until there are only 6 people standing before televised awards bodies even vote.
Tom you wrote:
I'm sure you didn't actually mean this. Do you mean to say you always believe that they nominate the right people? Surely you've disagreed with their choices before?!rdf You wrote:
correction: She always was one before we existed. We just loudly agreed with the movie camera ;)
everyone -- as a super-Pfan and completist i must state that this is on of her three best performances from her entire career. (and yes i think she should have at least two Oscars) Best Actress 1989 for Fabulous Baker Boys and Best Supporting Actress 2002 for White Oleander. I would be totally fine with four Oscars actually, adding in Scarface and Batman Returns but that's debatabl as there were other genius performances in those categories those years that might beg to differ. But 1989 and 2002 are undeniable as no one else was on her level either year.
One of the biggest gulfs between "great performance" and "terrible movie" ever.
Blythe Danner in The Last Kiss comes to mind too.
If I recall correctly, Columbia oddly neglected to submit Streep in ADAPTATION for consideration at SAG. Hence, the (nonetheless wholeheartedly deserved) Pfeiffer nomination.
Zellweger, Wright, and especially Pfeiffer are all phenomenal in White Oleander, but what I remember most from the advertising was a lot of blonde hair. In a lower wattage year, those performances could have gotten more attention, but, in a year when all 5 nominees came from well-marketed December releases (as was the case for the Best Picture that year too), I don't think that there was a way to open up space at the Oscars the way the SAG nom com did thanks to Columbia's entry error for Streep. Pfeiffer took her 5 year hiatus from the screen right after this performance, and what a (thankfully temporary) exit performance it was! I'm still hoping against hope she can sneak in to that apparently open 5th slot at the Oscars, but will settle for her finally getting that Globe bookend next weekend!
I really really really liked Renee Zelwegger in this!
Heartbreaking performance... Dare I say she was the real worthy Supporting Actress nominee here?
Pfeiffer didn't outperform Zeta, but yes, a nomination was certainly warranted. There wasn't really a reason to nominate coattail Queen Latifah beyond "When You're Good to Mama." Sorry, Queen!
Why she wasn't even on conversation for the Oscars that year? This is her best performance and on imdb she didn't win anything
My line up in 2002 would have been:
Drew Barrymore - CONFESSIONS OF A DANGEROUS MIND
Julianne Moore - THE HOURS
Michelle Pfeiffer - WHITE OLEANDER
Meryl Streep - ADAPTATION
Catherine Zeta-Jones - CHICAGO
Suzanne : agreed. She broke my heart in this.
White Oleander is loved by all of us blondes. It's the blondest movie ever.
It's silly that Pfeiffer wasn't nominated for her performance here. She's the most compelling viper possible, and she never overplays her hand. She, Renee, and Robin are all differing mirrors for Lohman, and Pfeiffer's mirror has two faces.
I don't know anyone could watch Latifah and Pfeiffer and cast a vote for Latifah. So they mustn't have watched?
I really love Pfeiffer in White Oleander ( the film itself not so much) she deserved a nod but I honestly can't see her winning over Catherine Zeta-Jones who is just THE BEST in the line-up, I'm not saying Jones is a better actress than Pfeiffer (which she is not) but she's just flawless in Chicago.
Guess Pfeiffer should've won for Dangerous Liaisons (as well as Close) and I would've nominated her for Mother! and The Age of Innocence.
i loved reading this. Pfeiffer was my choice that year and this piece just reminded me of all those excellent scenes (besides her indelible meeting with Zellweger) where she just hits it out of the park.
The Pfeiffer pfanatics have list all objectivity. This minor performance is 90% hair and stares.
@Jane: LOL
Nathaniel - did you have Zeta-Jones in Lead that year for the FB awards? I can't recall but I do know you're a fan of the performance (based off the smackdown :)). maybe she was silver behind Pfeiffer
markgordonuk -- I agree that she's much better than the film. It's a pity since the book sounds quite interesting and more complex than the movie ends up being. It's a great showcase for actresses nonetheless.
Claudine -- I wrote this, thank you very much. Nathaniel isn't the only Pfeiffer fan in the world.
Cafg -- Moore, to me, is a lead, so I'd move her out of the lineup automatically. Bates and Latifah are also ones I'd have no trouble cutting off the ballot. I like the lineup overall, but there are many supporting actress performances I'd rate higher than most of Oscar's chosen five.
BVR -- They have exquisite taste. Even if I don't always think their choices are the best of the year, they show personality in their picks and honor great work outside the Oscar conversation.
Tom Ford -- It's simply my opinion. I'd also say that it's a stretch to suggest the Oscar lineups always reflect the best of the year as your comment seems to do.
Cash -- She haunts the film in such a powerful way that her absence is always felt tenfold.
Paranoid Android -- That's a great lineup. Thanks for sharing :)
Eoin Daly -- I really need to see LOVELY & AMAZING one of these days. Thanks for the reminder.
NATHANIEL R -- Personally, I'd have given her the win in 1992 for BATMAN RETURNS and this one too. I also think she's great in 1989 but that year's award belonged to Isabelle Huppert in STORY OF WOMEN to me.
I recently shared all my Best Actress dream ballots on twitter and I'd have nominated Pfeiffer three times for that award, in '89, '91 and '92. Here's a link to that thread: https://twitter.com/claudioalvesDC/status/1362077604010950658
JF -- Never saw LAST KISS but I'm eager to check it out now. I'm somewhat fascinated by actors who manage to deliver great performances with subpar material or within bad films.
Suzanne -- I prefer Pfeiffer's terrifying Ingrid, but Zellweger is indeed heartbreaking and quite stellar in this too. It's one of her best performances IMO.
Bhurray -- Thanks for sharing your lineup. I love seeing other people's choices.
EricB -- It is so blonde!
Eder Acras -- We agree that Close should have won in '88 and that Pfeiffer should have been nominated for MOTHER!
Ryan -- Thank you for your kind words. Glad you enjoyed this piece.
Jane -- I like to think I justify my love for the performance with my writing. To me, it's much more than hair and stares.
Thank you for the feedback, everyone.
Love the comments. I love Michelle, but to say that she was "better" than Zeta-Jones or Streep for this year is pure fan delusion, and I do agree with Jane and think this opinion is highly influenced by her hair in this movie, which was indeed fantastic hair. She is mesmerizing to look at but that is looks. The movie itself is a standard movie of the week. If she had short hair in this movie, and actually looked like an inmate without access to a hair salon, no one would be even thinking that it was a great performance.
The 2002 line-up should've been:
1. Shirley Henderson-24 Hour Party People
2. Kathleen McDermott-Morvern Callar
3. Patricia Clarkson-Far from Heaven
4. Miranda Richardson-Spider
5. Jena Malone-The Dangerous Lives of Altar Boys
First things first (I'm the realest), this performance is Great, with a capital G. If it weren't for CZJ being the fiercest, I'd totes give her the gold that year (she's a very close silver medal that year, though)! I agree with Nat that this is one of her best works and it's in my top 5. Although...the order of which those five are in changes from time to time!
Second, all that being said...I don't think this was in any way shape or form an Almost There. The reviews outside La Pfeiffer were not the kindest to it, and even then her character isn't usually what they'd go for (ESPECIALLY in 2002).
Jono -- I appreciate diverging opinions, especially regarding something as subjective as acting, but please don't call me delusional.
thevoid99 -- Thanks for sharing your lineup. I haven't seen 24 HOUR PARTY PEOPLE but I'm a fan of the other performances mentioned, especially Richardson's kaleidoscopic visions of maternal neurosis in SPIDER.
CALonBway92 -- Thanks for the feedback. Who do you think was in 6th place if not Pfeiffer? Sarandon in IGBY GOES DOWN? Collette in ABOUT A BOY?
nobody speaks of alison lohman much anymore...
Love this piece. I don't think the direction helps bring out the nuances in Pfeiffer's performance but she's so clearly plugged into who this character is that she shines anyways. Would take her and Zelwegger over most of that year's lineup in a heartbeat - she'd would've been a fine winner. Think my own five would be:
Viola David, Solaris
Isabelle Huppert, 8 Women
Lupe Ontiveros, Real Women Have Curves
Kim Staunton, Changing Lanes
*Meryl Streep, Adaptation.*
I stumbled upon a clip of her being interviewed for this movie by Katie Couric on The Today Show and they totally gave away the ending!
One of the best performances that was deservedly sixth place in their year.
A good performance that was overrewarded. One of her few later performances to show the promise she had in the 80's/90's. Glad she didn't rob one of the five deservinf nominees this year.
She's pretty good here, closer to Almost Meh than Almost There, but it wouldn't have been an egregious nomination.
More deserving than her The Fabulous Baker Boys bid. Some 89er rhetoric has already infected the thread. Sigh.
To those without blinkers on Zellweger was the most deserving supporting actress from this film. Pfeifer would've been an okay nominee and not as blown out of the water by a much more complex and brilliant performance than she was in 89 by the unfairly maligned Tandy.
Speaking of White oleander, I still wonder whatever happened to Alison Lohman, she basically faded away after Drag me to hell and it's a shame because watching her in this was a nice reminder of her talents.
Pfeiffer has brief moments in WO that shine as bright as the greats like Streep, Tandy and Lange, but it's just not enough. I'll take the fun and charisma of Latifah over her. I do agree that Moore is lead .
To all the Pfeiffer-hating Tandy-fanatics on these comments, if you don't like my opinions on acting, nobody's forcing you to read this or any of my pieces.
You've already suggested that I have a clouded mind, that I'm delusional, that I've blinkers on, an 89er (whatever that means), blinded by long hair, etc. I usually am always thankful for the feedback, but this thread is going a bit too far. Appreciating acting is incredibly subjective as is appreciating cinema. Going around like yours is the only valid opinion and anyone who disagrees is delusional is incredibly unfair.
Claudio,I am not sure if some of the kickback was people trolling as they tend to do to relieve their boredom.
Seems like Nat and Claudio are pleading ignorance on the 89er bias that has pervaded these parts for a long while. Tandy seems to only be mentioned due to a recent condescending attitude in a recent post. Don't post things if you don't want those things to be discussed? Claudio seems to be inheriting Nathaniel's cynical side which is a shame. Maybe with his extraordinary writing he thought he would be onto bigger things already, but be patient and don't let it change your kind compassioate nature.
Claudio you need to develop a thicker skin. If you are going to throw out arguments saying this performance is better than others, especially ones that were more recognized and beloved, then some people may have a different opinion. That’s all.
So give Pfeiffer the 89 Oscar and give Tandy one for Fried Green Tomatoes!
Paranoid Android, considering she deserved the win for both, i'd be cool with a win for either of her incredible achievements. Although the clinical give it to the best performance regardless of narrative would make me say sorry gals, sorry Michelle, but Tandy gets one in each category!