Powder

By JOE LEYDON

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A Buena Vista release of a Hollywood Pictures presentation in association with Caravan Pictures of a Roger Birnbaum/Daniel Grodnik production. Produced by Birnbaum, Grodnik. Executive producers, Riley Kathryn Ellis, Robert Snukal. Co-produced by Dennis Murphy. Directed, written by Victor Salva.
 
Jessie Caldwell - Mary Steenburgen
Powder - Sean Patrick Flanery
Sheriff Barnum - Lance Henriksen
Donald Ripley - Jeff Goldblum
Duncan - Brandon Smith
John Box - Bradford Tatum
Maxine - Susan Tyrrell
Lindsey - Missy Crider
Stipler - Ray Wise
Mitch - Esteban Louis Powell
 

By turns affecting and annoying, "Powder" is a sentimental sci-fi drama that, on its own merits, didn't appear likely to make much impact at the box office. That, however, was before this week's revelation of writer-director Victor Salva's 1988 child molestation conviction, which has turned pic's release into a news story that reps a publicity nightmare for Disney and might suggest severe commercial fallout.

Film features some fine performances, an imaginative premise and a couple of go-for-broke emotional scenes. But the muddled script plays like a first draft, the continuity is jagged and the climax is a cop-out of sappy mysticism. Worse, the ending might be interpreted by the more impressionable teens in the pic's obvious target audience as an endorsement of suicide.

Filmed in and around Houston, "Powder" begins with small-town Texas sheriff Barnum (Lance Henriksen) investigating an elderly man's fatal heart attack at a remote farmhouse. In the basement, he discovers the dead man's grandson Powder (Sean Patrick Flanery), a hairless, white-skinned teenager who has seen nothing of the world beyond the farm.

Enter Jessie Caldwell (Mary Steenburgen), head of a nearby school for troubled boys. Jessie brings Powder to her facility, where he finds himself treated as a freakish outcast by fellow students. But their taunts quickly are silenced when Powder reveals his mysterious powers of electromagnetism by zapping cafeteria utensils.

Science teacher Donald Ripley (Jeff Goldblum) is awed by Powder's power, and tries to befriend the lonely youngster. Jessie too, appreciates Powder as someone special, particularly when IQ testing reveals the boy has "the most advanced intellect in the history of humankind."

It turns out Powder's mother was struck by lightning shortly before his birth. As a result, he has highly evolved mental powers, to the point where he can read -- and transmit -- the thoughts of others. Unfortunately, this ability, like his other powers, is a mixed blessing.

Salva borrows freely from a number of sources, most notably "Starman" (particularly in a scene involving a deer shot by hunters) and "The Man Who Fell to Earth." But he does manage some affectingly original touches. In the movie's best scene, Powder transmits the thoughts of the sheriff's cancer-stricken, near-comatose wife to her tearful husband. Henriksen never has been so moving onscreen as he is here; his performance suggests he is more than ready to move from reliable character actor to full-fledged lead.

Unfortunately, it is impossible to view another affecting scene without being reminded of Salva's recently revealed past. In response to Powder's hunger for physical affection, Goldblum's character tries to comfort him by stroking his face and head.

It can be argued that Salva's past should not be brought to bear on any discussion of "Powder." Still, it's impossible not to wonder what was on Salva's mind when he set so much of his story at an institution for teenage boys who, judging from brief bits of dialogue, have been sexually or physically abused. A key scene that has Powder innocently viewing another boy taking a shower may disturb audiences who have read the news stories about Salva.

Then again, that's assuming auds will show up in the first place.

"Powder" is riddled with lapses in logic and hampered by clumsy pacing. The narrative has a distractingly start-and-stop quality -- the pic appears ready to end two or three times before it does.

Some supporting players make strong impressions: Brandon Smith as a thick-witted deputy, Missy Crider as a girl who thinks Powder is "beautiful." But Steenburgen is given almost nothing to do to develop her character. Goldblum charges his relatively underwritten role with some amusingly off-kilter line-readings, and an overall air of twinkly eyed bemusement.

Flanery does an admirable job of conveying the sometimes contradictory attitudes of the title character. His performance is greatly enhanced by the persuasive makeup designed and created by Thomas R. Burman and Bari Drieband-Burman. Other tech credits are average.

If the notoriety dies down, "Powder" might find a more receptive audience on cable and homevideo. But don't be too surprised if Disney considers a title change and other forms of damage control before pic reaches homevid outlets.

Camera (DuArt color; Technicolor prints), Jerzy Zielinski; editor, Dennis M. Hill; music, Jerry Goldsmith; production design, Waldemar Kalinowski; art direction, Barry Kingston; set decoration, Florence Fellman; costume design, Betsy Cox; sound (Dolby), Steve C. Aaron; special makeup designed and created by Thomas R. Burman, Bari Drieband-Burman; assistant director, Carol Louise Green; casting, Junie Lowry-Johnson. Reviewed at AMC Meyer Park 14, Houston, Oct. 23, 1995. MPAA rating: PG-13. Running time: 111 MIN.