Afouotos
Although it has its amusing moments, in eneral the plot does not convince.
Zandra
The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.
Isbel
A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.
turnbull50
One of my favourite films of the 1940's I love the way Jennifer Jones plays herself from being a schoolgirl to an adult women. The acting is excellent. The ending is stunning with the green tint and technicolor portrait at the end.
gavin6942
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.
kols
Was a godsend for me as an adolescent, back in the early 60's, and many of the films I watched stayed with me - Portrait of Jennie being one of the strongest of those memories.This always puzzled me because, while there was much in the tone of the movie I remembered with affection, there were also elements of melodrama and weak plot elements that gnawed. And, given that I'd only seen it once so long ago, I always wondered if I'd projected a teenager's perspective into it.So, when it popped up on TCM recently I recorded it, discovering where both impressions originated.Frankly, the opening and ending credits reek of Selznick's ego while the opening voice-over is both unnecessary and bombastic, tossing in pointless speculations of time and space, neither of which are well understood to this day.Then Portrait begins with Cotten's character, Eben Adams, meeting Jennifer Jone's Jennie Appleton as a young girl (Who dreamed up these names?), and Portrait takes off - building from friendship to love within a frame of mystery as Adams slowly comes to realize that Jennie is not what she seems.A great deal of credit goes to Director and Screen Writer for letting the story evolve, from Adams' perspective, without explicitly identifying Jennie as a Spirit or Ghost even 'til the very end, and finally granting her Immortality in Adam's haunting portrait.Jennie's never explained, the mystery is never really solved, logic is never imposed on the story. It's left, as it should be, lyrical and heart-breaking.As for my remembered misgivings, blame Selznick and his ego. Cut out everything after "A Selznick Production" to Cotten's opening scene as well as the pretentious closing credits (did Selznick just get back from a French vacation?) and you've got a small masterpiece.As for the source, Robert Nathan's novella, I suspect he dreamed up the names to seem more New Englandish (Eben? Miss Spinnery?) and I'd love to find a copy; he did write "The Bishop's Wife", the film version of which is also a favorite. So I'm inclined to give him a pass rather than thinking Portrait was a superior adaptation of a lesser work.At any rate thank God for TCM and, despite my criticism, Selznick's ability to recognize when he's produced a winner and restrain, if not totally corral, his ego.
atlasmb
Portrait of Jennie is a story that plays with the mysteries of time and space and frames them (pun intended) within the construct of a love story. Other films have done this--Brigadoon, Vertigo, Groundhog Day. And I'm afraid those other films have done it better. Or consider Somewhere in Time, a real standout in this category.POJ is first and foremost a love story, so the chemistry between the two lovers must be more than believable--it must be compelling. This is a love that must survive years, disappointments, rational thought. I think Jennifer Jones is an appropriate lead. When we see the titular portrait, it shows in graphic form that, yes, this is a woman who might inspire a lifelong love. Joseph Cotton, on the other hand, feels ill-suited. He is a fine actor (see Shadow of a Doubt), but I find the chemistry to be less than mercurial. This may be intentional. Selznick--who was very in love with Miss Jones--picked a male lead who posed little threat to him, a "safe" choice.The production itself is competent, though some of the miniatures are so obvious. Debussy's music is mined heavily in the soundtrack to great effect.But alas, we can only wonder what might have been if another actor had played the lead. Looking among her other costars, I wonder if John Garfield might have fit the bill? Among others, perhaps Joel McCrea or Robert Taylor? But I really doubt anyone could have elevated this story to the point of excellence.One highlight is the New York City scenery. A very nostalgic view of the city, especially Central Park, is enjoyable.
