Desert Bloom

Desert Bloom (1986), not to be confused with Desert Hearts released in the U.S. the same year, stars Annabeth Gish as an adolescent girl with new eyeglasses and spelling bee skills. The film opens in Las Vegas in December 1950. Gish's stepfather, played by Jon Voight, is a World War II veteran who has a gas station, the last fill-up opportunity on the edge of town before the highway enters the Nevada desert. On his better days, he has a yen for self-education, brain teasers, and the news and intellectual discourse of the world. On his worse days, he has combat flashbacks, leading to excessive drinking and flares of temper. Gish's mother, played by JoBeth Williams (The Big Chill), is full of life-guidance aphorisms, but has a flaw herself in the form of an apparent past of occasional compulsive gambling. There are two little sisters, plus a glamour-queen aunt, played by Ellen Barkin (The Diner; The Big Easy), who comes to live with the family. The other significant roles are Allen Garfield (The Candidate; The Conversation) as a family friend, I think the father of one of Gish's female classmates, and Jay Underwood, an adolescent male. The movie plot basically plays out some of the discord at which the above hints.

This movie is fifties Americana, almost as if one had entered a time machine back into that decade. Voight is at a career peak that carried over from his Oscar-nomination performance the preceding year in Runaway Train (1985). Williams magnifies what already is a strong supporting performance with the singing talents we discover in a scene at the piano (making the assumption it's really her voice). Garfield is subtly good, as usual. I respectfully disagree with Desert Bloom's lack of critical acclaim and low IMDb viewer ratings.

A powerful and heartbreaking portrayal of what it is like to walk on egg shells in a household inhabited by an alcoholic husband and father.

The story deftly renders the awkward and secretive moral climate around alcohol, sex, and infidelity in post- WWII America. Unflinching in his lack of sensitivity, John Voight nonetheless succeeds in winning a kind of sad sympathy for his post-combat nightmares and his tortured reality. Jo Beth Williams, Annabeth Gish, and Ellen Barkin give outstandingly moving performances that could only be described as remarkable. John Garfield gives a subtle and important performance in a wonderful supporting roll.

This film was one of those sleepers that came out of left field, and knocked me down! It is a noteworthy American film, tragic, touching, and ultimately triumphant. It is truly unforgettable.

I thought this was a great period piece and a great slice of life movie. The early atomic era was a haunting time and I thought this movie really captured it. I really felt like I was back in the early Fifties. Great performances by the whole cast. We see Annabeth Gish before she did Mystic Pizza.

"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-

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.