LORENZO'S OIL
A film review by James Berardinelli
Copyright 1993 James Berardinelli
Running Length: 2:15 Rated: PG-13 (Mature themes)
Starring: Nick Nolte, Susan Sarandon, Peter Ustinov, Zack O'Malley Greenburg Director: George Miller Producer: Doug Mitchell and George Miller Screenplay: George Miller and Nick Enright Music: Supervised by Christine Woodruff Released by Universal
LORENZO'S OIL is based on the true story of Augusto Odone (Nick Nolte) and his wife Michaela (Susan Sarandon) as they fight to save the life and sanity of their son Lorenzo (Zack O'Malley Greenburg). Lorenzo, diagnosed in early 1984 as a victim of ALD, an incurable degeneration of the brain, is beyond the help of conventional medicine. His parents, unwilling to give up the struggle even after participating in several failed therapies, begin their own investigation of the disease. LORENZO'S OIL follows the triumphs and tragedies of this search.
The film is unique in that it avoids the most obvious trap--that of becoming a melodramatic, tear-jerking soap opera. Instead of focusing primarily on a family being torn apart by guilt and pain, LORENZO'S OIL follows Augusto and Michaela's attempts to understand their son's disease and discover a method of treatment.
The search is fascinating, a unique odyssey of discovery. Even though it delves into medical terminology that few laymen will grasp, simple metaphors, such as those of a kitchen sink and a chain of paper clips, are used to explain clearly and concisely the causes and effects of ALD. Comprehension is necessary to the success of the film, and LORENZO'S OIL overcomes with little difficulty what might seem a troublesome barrier.
The script is written for the thinking movie-goer. Someone who sits back and passively absorbs what is shown on the screen is likely to become bored. However, for the viewer willing to invest energy in understanding what LORENZO'S OIL has to offer, a captivating experience awaits. We are drawn into the search and its revelations.
LORENZO'S OIL is at its weakest when it steers away from the investigation to present "character moments." Most of these scenes are of the hit-and-miss variety, some working while others fail to convince. The only example of overacting in the film comes in one of these moments when Nolte's Augusto slides down a flight of stairs, howling in agony. His pain is telegraphed with all the subtlety of a jackhammer. Fortunately, the overall success of the film is only peripherally affected by these instances.
The characters of Augusto and Michaela are developed successfully through the search scenes. Lorenzo is less of a person than a plot element (we know little more about him than that he is a good-natured boy who has come down with a rare, debilitating disease), and most of the other men and women populating the film are as well-rounded as the story demands. The actors are competent in their roles. Sarandon and Nolte have both given more emotive, effective performances in the past, and Nolte's ridiculous Italian accent is hard to get used to (perhaps a little cinematic license should have been used to eliminate it). Only Zack O'Malley Greenburg stands out. Equal credit must be shared between him and director George Miller for creating such a heartfelt and believable performance. For an adult, acting of this caliber would be noteworthy; for a child, it is astounding.
Much of LORENZO'S OIL is based on true events, but there are at least a few moments when Hollywood intrudes, creating occasional leaps of exultation that are contrived (such as what happens when the results of Lorenzo's Oil are revealed to a group of ALD parents). Fortunately, the director/writer team of George Miller and Nick Enright have curbed excesses in this area.
Pacing is uneven, due mainly to the mix of the "character moments" with the overall story. The film is a little longer than it needs to be, but not greatly to the movie's detriment. LORENZO'S OIL is a well-crafted motion picture. It is not a tear-jerker, preferring to stir emotion through its characters and the realization of their situation rather than through audience manipulation. Above all, however, it is a film about the victory of hope through perseverance-- and one that brings its viewers along to observe each battle.
Rating: 8.9 (A, ***1/2)
- James Berardinelli (blake7@cc.bellcore.com)
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