Portrait of Jennie (1948)

A waste of 90 minutes of my life

It is not deep, but it is fun to watch. It does have a bit more of an edge to it than other similar films.

Good films always raise compelling questions, whether the format is fiction or documentary fact.

The acting in this movie is really good.

Eben Adams is a talented but struggling artist in Depression era New York who has never been able to find inspiration for a painting. One day, after he finally finds someone to buy a painting from him, a pretty but odd young girl named Jennie Appleton appears and strikes up an unusual friendship with Eben.The film is notable for Joseph H. August's atmospheric cinematography, capturing the lead character's obsession with Jennie, amongst the environs of a wintry New York. August shot many of the scenes through a canvas, making the scenes look like actual paintings. August, who used many lenses from silent film days, died shortly after completing the film. He was posthumously nominated for an Academy Award for Best Cinematography.The film does mark a milestone in fantasy film, which really didn't much exist in the earlier years so far as I can recall. The cinematography really does set it apart. The scenes where the background looks like canvas is just a brilliant idea, and has us questioning what is real and what is just a creation. Indeed, even by adding an opening narration, we are left with the impression that this is intended as a story (creation) rather than anything that could be considered reality.

How strange that an old movie from the past should have such a profound influence on so many people living in the present. Is this due to the movie itself or perhaps to the extraordinary gifted people who made it. As a surreal movie of simple aspect, none can compare even in modern cinema. The atmosphere as has been stated so many times before is dreamlike, but there is more to it than that. When we watch this movie we are entering a unique cinematic achievement where a dream has 'almost' been captured on celluloid. The atmosphere is strangely and very slightly out of focus and while the people who populate this place are outwardly friendly and normal, they are somehow slightly distant and in the background there lies something strange and dangerous and while we can't see it, we can sense it's there but we are still drawn in by this enchantingly beautiful girl who seems to grow up before our eyes. A masterpiece of American film making which is now starting to fade into obscurity as one day we all must. But while we will be forgotten, Portrait of Jennie will be discovered by future generations and it's makers recognized as timeless artists...just as the characters in their film are trapped in a beautiful but dangerous whirlpool where time refused to abide by the laws of physics.

The film opens with Twilight Zone vibes, giving the idea that we are going to watch a ghost story of unconventional type.Then enters 30 year old Jennifer Jones dressed as a child and the movie turns into a creepy farce. Jones was David O. Selznick's wife and an A list actress, thanks to her marriage. Or at least, being married to the mega-producer did not hurt a bit her career. She was also a good looking woman, and reading some reviews seems like reviewers are mostly impressed by her looks.However, I just cannot overcome the feeling of creepiness and the absurdity of a grown-up woman dressed up as a child, with virginal clothes and braids, meeting a man and sort of seducing him. Joseph Cotten plays the artist fascinated by the creepy child, who is just waiting for her to be old enough so that they can be properly lovers.... Or something along those lines.Highly disturbing stuff and I really do not understand how this sort of story can be seen as "romantic" (maybe for the pedophiles) or "hunting" (unless you are into mature women who dress up like children and men with OCD).

Daid O. Selznick struck Hollywood good with his four hour 1939 technicolor GONE WITHE THE WIND and his two hour 1949 black and white RECBECCA. Eight years later he made PORTRAIT OFJENNIE on the parallel dark brooding supernaturally tinged premise to REBECCA which lasts only 86 minutes the first hour in nblack and white the remainder switching from green monochrome to techicolor. Ethel Barrymore in a lead role and Lillian Gish coming out of retirement for a considerable length cameo continue his tradition of producing Hollywood gold. The choice of Joseph Cotten in the central role and Florence Bates in a cameo lends merit to the film. The film was originally shown in a not working well prelude to cinemascope called Cyclorama which was abandoned quickly and is not available in modern cablecasts or DVD. Jennifer Jones was his chosen bride and star of the era who can be beautiful in finery and cosmetics but plays for much of the film a little girl dressed down. Her vocal shortcomings would not be worth stardom today. Her sound track comes out less than satisfactory on modern cablecast and DVD.