THE CRUDE OASIS
A film review by James Berardinelli
Copyright 1995 James Berardinelli
RATING (0 TO 10): 6.5
U.S. Availability: limited release 7/7/95 Running Length: 1:20 MPAA Classification: R (Mature themes) Theatrical Aspect Ratio: 1.66:1
Cast: Jennifer Taylor, Aaron Shields, Robert Peterson Director: Alex Graves Producer: Alex Graves Screenplay: Alex Graves Cinematography: Steven Quale Music: Steven Bramson U.S. Distributor: Miramax Films
Two minutes into THE CRUDE OASIS, we know we've entered David Lynch territory, even if the producer/director/writer of this film is Alex Graves. This low budget, noir character study, which takes place on the barren plains of Kansas, has the kind of atmosphere and quirkiness that has become Lynch's trademark. Graves borrows it to his own ends here, but, like Lynch, sometimes becomes so mesmerized by the weird trappings that he momentarily loses sight of the story.
With the exception of a few minor itinerants, the population of THE CRUDE OASIS is three: Karen Webb (Jennifer Taylor), a lonely, depressed woman going through the motions in a loveless marriage; her philandering husband, Jim (Robert Peterson), who is having an open affair while expecting complete fidelity from his wife; and Harley Underwood (Aaron Shields), a mysterious gas station attendant whose image has been invading Karen's nightmares. The interaction of this trio, or, more particularly, of Karen with the other two, represents the sum and substance of the story.
One of the problems with THE CRUDE OASIS is that two-thirds of the characters have little depth or breadth. While we get a few glimpses into Harley's psyche, the script keeps him at arm's length, and he never seems more than a plot device to catalyze Karen's actions. Emmy-award winner Aaron Shields attempts to bring some life to his on-screen personae, but the script doesn't offer him a whole lot of latitude. Faring even worse is Jim, who comes across as cold and lifeless. Portrayed mechanically by Robert Peterson, this man could be a robot for all the emotion he displays.
Fortunately, the centerpiece is Karen, and she is far better realized than her male counterparts. Actress Jennifer Taylor, appearing in her first feature (after a lengthy stint on a daytime soap opera), successfully conveys Karen's ever-mercurial moods. As the character gradually comes to realize that her life doesn't have to be chained by the expectations of others, Taylor allows us to see real growth. This is not a standout performance, but it's effective.
THE CRUDE OASIS has a dream-like pace that is occasionally punctuated by brief, nightmarish interludes. For the most part, all the "action" takes place deep within Karen's troubled soul. Surface changes -- what few there are -- are designed to echo more fundamental transformations. With two of three characters never attaining three- dimensionality, all the development is left to Karen.
As a directorial debut, THE CRUDE OASIS displays promise for Graves, who manages to hold the audience's attention. Certain choices, such as a long, lingering view of an approaching thunderstorm, work exceptionally well. Others, like keeping Harley's face off-camera during his first encounter with Karen (Does anyone not realize he's the man from her nightmares?), are questionable. Nevertheless, techniques aside, Graves gets the message across. To one degree or another, we're all prisoners of loneliness and isolation, but even for those most trapped, there's always some way out, even if it involves an unimaginable risk.
- James Berardinelli (jberardinell@delphi.com)
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