The Crude Oasis

 (Drama -- Color)

By GODFREY CHESHIRE

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A Miramax release of a Bluestem Films production. Produced, directed, written, edited by Alex Graves.
 
Karen Webb - Jennifer Taylor
Harley Underwood - Aaron Shields
Jim Webb - Robert Peterson
Earp - Mussef Sibay
Stone - Lynn Bieler
Cheri - Roberta Eaton

 

Even in a day when no-budget debut films like "El Mariachi" and "Laws of Gravity" have become fairly common, it would be hard not to be impressed by "The Crude Oasis." Shot in 14 days on a $ 25,000 budget, this bow by young producer-director-writer-editor Alex Graves is a hands-down triumph of sheer talent and savvy film craft over limited means. Given careful handling by Miramax, the smart suspenser should snare appreciative auds at arthouse sites and in vid playoff. Recalling "The Last Picture Show" and "In Cold Blood" in its brooding small-town atmospherics, the Kansas-set tale opens with a young housewife, Karen (Jennifer Taylor), experiencing recurring nightmares, including one of a crucifix-wearing young man emerging from a raging river.

Karen's daylight troubles are no less daunting. Her distant husband, Jim (Robert Peterson), admits to having an affair but rebukes her demand for a divorce by saying she would be lost without him.

Distraught and suicidal, Karen spends her days cruising aimlessly in her car , until a stop for gas brings her face to face with the guy from her nightmare, a filling station attendant.

His name is Harley (Aaron Shields), and he's hardly the "man of her dreams" in the conventional sense. When Karen pursues him to a river one night, the taciturn loner almost drowns her, then appears to be disturbed for cryptic reasons that both frighten and intrigue the unnerved woman.

Tale's remainder is full of ingenious twists and turns that are all the more satisfying for hinging on believable psychology and nuanced mood rather than showy plot gimmicks or violence. With its discreetly metaphorical use of water and oil, Graves' script emerges as a model of taut understatement, dramatic cunning and sparely suggestive dialogue, virtues supported by the more-than-capable perfs of Taylor, Shields and Peterson.

While Graves' direction proves as sharp as his writing, and cinematographer Steven Quale's 16mm lensing lends a suitably rough-hewn look, pic's impecunious origins are occasionally reflected in its spartan production values and some tech credits, including less-than-pro sound. Yet, these minor drawbacks are more than offset by the imaginative verve and resourcefulness on constant display.

Camera (color, 16-to-35mm blowup), Steven Quale; music, Steven Bramson; art direction, Tom Mittlestadt; sound, Steven Rea; production manager/assistant director, Greg Tennant. Reviewed at Magno Review 1, N.Y., June 27, 1995. Running time: 81 min.