Portrait of Jennie (1948)

User Rating:

7.7/10   

Director:

William Dieterle

Writers:

Robert Nathan (novel)
Leonardo Bercovici (adaptation)

Release Date:

22 April 1949 (USA)

Genre:

Drama | Romance | Fantasy | Mystery

Plot:

A mysterious girl inspires a struggling artist.

Plot Keywords:

Artist | Hurricane | Black & White To Color | Ghost | Melodrama

Awards:

Won Oscar. Another 1 win & 2 nominations

Cast

Jennifer Jones	...	Jennie Appleton
Joseph Cotten	...	Eben Adams
Ethel Barrymore	...	Miss Spinney
Lillian Gish	...	Mother Mary of Mercy
Cecil Kellaway	...	Matthews
David Wayne	...	Gus O'Toole
Albert Sharpe	...	Moore (as Albert Sharp)
Henry Hull	...	Eke
Florence Bates	...	Mrs. Jekes (landlady)
Felix Bressart	...	Pete
Clem Bevans	...	Capt. Cobb
Maude Simmons	...	Clara Morgan

Also Known As:

Jennie (UK)
Tidal Wave

Runtime:

86 min

Country:

USA

Language:

English

Color:

Black and White | Color (Technicolor)

Aspect Ratio:

1.37 : 1

Sound Mix:

Stereo (special stereo mix in final storm scene) | Mono (Western Electric Recording)

Certification:

Iceland:L | USA:TV-PG | Finland:S | Germany:12 | Sweden:Btl | USA:Approved (PCA #12700) | UK:U

Filming Locations:

Boston Harbor, Boston, Massachusetts, USA

Company:

Vanguard Films

Trivia:

The portrait of Jennie supposedly painted by Joseph Cotten's character, Eben Adams, was in reality created by artist Robert Brackman. Jennifer Jones came in for more than a dozen sittings in Brackman's Connecticut studio.

Goofs:

Continuity: During the scene where Eben first meets Jennie in the park, the snow on the front of her coat comes and goes.

Quotes:

Jennie Appleton: How beautiful the world is Eben! The sun goes down in in the same lovely sky. Just as it did yesterday, and will tomorrow.
Eben Adams: When is tomorrow, Jenny?
Jennie Appleton: Does it matter? It's always. This was tomorrow once.

Movie Connections:

References Thunder Rock (1942)

Soundtrack:

The Girl With The Flaxen Hair

1940's Classic

Although it is a story that no doubt stands on its own as a cinema classic, this film for sure reminded me of Somewhere In Time, which came along a generation later. Both stories dealt with men of artistic temperament with perhaps too vivid imagination, (Was it imagination, or something more?), that met extraordinary women out of their respective places and time. But, Portrait of Jennie is unique for several reasons. Joseph Cotten has never been given his due as one of the excellent actors of his generation and it is truly a pity that he and female lead Jennifer Jones as Jennie are not well known as one of screendoms great male/female screen teams. As always, it is not only the enchanting story that makes this film a classic, but just as important are the presence of the capable players. Players such as Ethel Barrymore, Cecil Kellaway and Lillian Gish are only a few of the many who appeared and made this a very unique and excellent film. In 1934 New York City, starving artist Eben Adams (Cotten) is having trouble selling his paintings. It seems there just isn't enough emotion in them. However, all of this changes when befriended by a pair of sympathetic art dealers (Kellaway and Barrymore), but more importantly, when he meets Jennie for the first time. Jennie appears to him first as a young girl, but promises to `grow up quickly.' Each succeeding time that Adams encounters her, she is older and the relationship deepens. Adams is disturbed by her comments and realizess that, if statements concerning her past and family are true, she should be perhaps 20 years older. In the meantime, Adams is inspired to begin a portrait of her, the `Portrait of Jennie.'

By film's end we have the final encounter between Adams, who has gone to great lengths to determine if Jennie's past is as she says it is, and Jennie on a rocky seashore during a violent storm. I will not divulge the ending. I'll say Adams survives the storm and, with new found emotion and compassion, becomes a highly successful artist. The very last scene shows the portrait, classified a masterpeiece, hanging in a museum. There are excellent location shots of 1940's New York City and it's various areas of interest. The Portait of Jennie, which we see in all it's glory at film's end, could well be a masterpiece in itself as a painting of the beautiful Jennifer Jones. As the saying goes, they don't make ‘em like this anymore but, in this case, `they' don't have to. We have our Portrait of Jennie, a film which transcends time and has withstood the test of time very, very well.