Desert Bloom

This film story initially appeared to be a more or less typical coming of age story of a teenage girl, set in the '50's at the height of the atomic bomb testing age in the desert southwest, but ended up being a sad and multi-faceted story of unrealized potential, chronic physical pain, alcoholism, paranoia, abuse, spousal enabling, ruined family potential, and of a daughter's loss of love and trust in her father due to the results of his very human and typical response to great pain....self medication by alcohol. That, plus another very typical male response by her father to excessive temptation by his wife's sister who, without a care for the family unit, threw her many sexual charms at her drunk brother in law. Weak as he was in all ways he still responded, to great familial damage. Just too many human flaws and life burdens for any family to survive intact, and this one was no exception.

There are some outstanding acting performances in history that I think have gone outrageously unrewarded by Oscar. A few are the 1956 portrayal of Vincent van Gogh by Kirk Douglas in Lust For Life, Karen Black in Five Easy Pieces, Kevin Kline in Sophie's Choice, Tim Roth in Rob Roy, and Jon Voight in this film. When Voight was on screen, I could not see anyone else. That defines acting greatness, and was the case with the other performances stated. And, I find it very interesting that 4 of these 5 roles demonstrated an obvious form and level of mental illness. Maybe all of them did. Interesting point.

If you have ever known anyone who was forced to live with great chronic pain you may better understand the quality of Voight's performance, his very obvious pain resulting from severe WWII wounds that he knew would dog him mean every day of his tortured life. I knew someone with that great pain, and Voight's performance was so spot on I could not believe that someone without that pain could portray it so realistically.

You want to see truly great acting? Do yourself a favor and see Jon Voight in this film and get the rest of the well made story as a bonus.

Intensely emotional, so much so, that it's hard to watch in places. Jon Voight's performance of a WWII veteran tortured and twisted mentally by his war experiences is intimidating, even volatile.

The story is set in the '50's, at a time when the U.S. is testing nuclear weapons at a base north of Las Vegas. Jack Chismore (Voight), the veteran, and his family live in the Nevada desert near Las Vegas. There are parallel stories, weaving the news of the nuclear technology around the conflicts of Chismore's mental cruelty and abusive behavior to his family; in particular, his coming-of-age daughter Rose (Annabeth Gish). Gish is sensational in this role; she holds her own in verbal sparring with the always skillful Jon Voight. You really feel her frustration, and love to hate Chismore. The latter, though, slowly becomes more sympathetic as you understand his suffering more.

Coming-of-age stories have a few standard plot lines, but they're handled tenderly and resist exploitation here. Rose has a boy friend, and she's learning the facts of not only her own personal life, but the ugly and frightening facts of the world simultaneously.

The final image is riveting; in a single shot, the twin points of loss of innocence--Rose's, as well the world's--are melded together brilliantly with a single camera shot. A fine movie with a powerful theme.

Very underrated 1950's story, basically about a messed up family. But boy oh boy are they messed up. Featuring outstanding performances by Ellen Barkin and Jon Voight, and nearly stolen by newcomer Annabeth Gish, this is a haunting provocative story of a family in crisis, just as the nation was in crisis. Beautifully done.

"Desert Bloom" (1986) is an excellent and underrated coming-of-age drama about a semi-dysfunctional family living in Las Vegas in the early 50s. The military is conducting atomic bomb testing nearby. The story mostly focuses on 13 year-old Rose (Annabeth Gish) who struggles with her relationship with her stepfather, Jack (Jon Voight). Jack suffers from post-traumatic stress disorder and alcoholism. Her mother, Lily (JoBeth Williams), is the pillar of the family that keeps them together and hopeful. When Lily's sexpot sister, Starr (Ellen Barkin), visits it's both a blessing and a curse.

The film grabbed my attention from the get-go, which is a good sign, and sustained it till the end. The first two acts are solid drama that build up to the more volatile final act.

Most families function satisfactorily from day to day with an undercurrent of some frustration or animosity, which leads to the occasional explosion of emotions. This is what we see in "Desert Bloom," and it's a potent explosion.

The acting is stellar, by the way. Voight's one of the greatest actors in the history of cinema and he's just so believable here. Williams, Barkin and Gish as well.

Roger Ebert inexplicably complained that the film is about two many things, but I never got this feeling for a second. Yes, the story juggles quite a few issues -- coming-of-age, atomic bomb testing, mental disorders, child abuse, alcoholism and inappropriate relations -- but they all gel together for a cohesive whole.

With all these elements the film is rich with gems to mine. Here are three that I'd like to mention:

• The balding, pudgy neighbor who is boldly willing to stand up for an abused child.

• The solid mother who keeps her composure at all times, until she catches wind of something sinister. At that point, watch out! (But notice what she does after the explosion).

• The ending's emphasis on repentance, forgiveness and redemption. It's so effective it's a mite tear-inducing.

As far as the dramatic vibe goes, "Desert Bloom" is reminiscent of films like "Jacknife" (1989) and "Blue Sky" (1991). It's on par with the former and better than the latter.

The film was shot in Vegas & Tucson and runs 105 minutes.

GRADE: A-

Sensitively told coming-of-age film set against Las Vegas and the early years of atomic testing. Rose (Annabeth Gish) is thirteen and very much wants to connect with stepdad Jack (Jon Voight), an alcoholic WWII veteran still possessed by the demons of combat. Trouble is, she's operating on one track, while he's operating on two, such that just when they seem at last to converge, he goes off on a delusionary binge. Movie is notable for the exceptionally fine performances of these two actors. Gish, tottering atop two gawky legs and peering out from the cosmetic curse of horned-rim glasses, is the very real, aching embodiment of adolescent angst. Hers has to be one of the finest, least mannered renderings of teen-age yearning and self-doubt in many, many years, and made even me, a hardened old curmudgeon, feel kindly toward the hopelessly pubescent. Voight's character is less sympathetic and more complex. Victimized by the evils of war and beset by alcohol and impotence, he's having trouble with his masculinity in a house full of women. He wants to fulflill a positive role for his wife and stepdaughters, but the inner turmoil keeps erupting unpredictably.You want Jack and Rose to connect, to heal one another's emotional wounds, but circumstance is against them.

Movie leaves off on suitably ambiguous note as atomic test parallels emotional family blowup. We know time will take care of Rose's problems, but what of Jack. Film is not so much about dysfunction as it is about adolescence and the walking wounds of war, such that you'll remember the characters long after the various plot complications have subsided. What a fine piece of non-commercial movie making this is thanks to Sundance Productions and writer-director Eugene Corr. Their work along with that of the entire cast shows once again why "the obscure little movie with something to say" continues to be one of our finest film traditions.