The screen's most romantic team!
A mysterious girl inspires a struggling artist.
A mysterious girl inspires a struggling artist.
Brigadoon by brushstroke.
Love is a hallucination,
a desire that transcends
its perpetually fleeting unreality
by convincing yourself
to be nostalgic for the present.
All love stories are ghost stories.
The most perplexing cinematic encounter ever. A paragon of originality and peculiarity that only exists in a bizarro world. The mystical avalanche, frenzy daydreams in an icy New York is so cold from start to finish. A movie for the old souls. Horror for the lonely in love.
“Isn’t beautiful? I always feel a little closer to the truth of things in here, as if pretty soon... I will understand.”
A depressed artist randomly meets a strange girl who gives him inspiration to paint his masterpiece but also inspires him to seek the virtues of love.
This film is paralleled to a feeling of a warm gentle hug from someone you love in a brisk winter cold. The romance is tender, graceful and intimate without being cheesy nor overemotional. Dreamy and quotable dialogue that every hopeless romantic will drool over. Enjoyable and friendly characters that appeals to the story. Fantasy elements that is more divine than obtrusive. Lush cinematography that gave me one of my favorite final shots in cinematic history.
'Truth is beauty... that's all you need to know'
This beguiling fantasy was a 'no expense spared' David O. Selznick production - even incorporating a sequence in colour and others in sepia and green - for his soon-to-be-wife Jennifer Jones, an adaptation of Robert Nathan's novella which is well translated into such images of '40's romanticism as crashing waves and moonlit attics.
Jones is the mysterious girl/woman encountered in Central Park by Joseph Cotten's penniless artist who naturally makes her the subject of his latest painting and - inevitably - falls helplessly and hopelessly in love as the truth of her tragic background slowly begins to emerge from the studio fog..
Though not quite as outstanding as the previous year's…
Fuck, how does this even exist? It's like it was personally crafted just for me. THE PORTRAIT OF JENNIE is a perfect film in an achingly brief 86 minutes, and it effortlessly achieves the dreamy mythic quality of a long-lost story from childhood. Jennifer Jones is simply luminous, turning in her second quietly staggering performance, after CLUNY BROWN.
While Joseph Cotten and Jennifer Jones’s transcendental romance configures them as specters adrift in their own world, this gentle fantasy is grounded in its sense of place and its roster of vividly-sketched characters—with bit parts as memorable as an Orson Welles feature—that meander in and out of the film. Lillian Gish plays one such character, Mother Mary of Mercy, and exhibits as…
Portrait of Jennie requires its viewers to take a leap of faith. If you decide to take that leap, surrendering yourself over completely to its fantastical narrative and dreamy, oft-kilter atmosphere, it won't take long for you to discover that Jennie is the single most heartfelt love story of the 1940's, heck, maybe even of the entire classic Hollywood era. A tale of love between a spirit and a man of flesh and blood, the union of Heaven and Earth. Love that completely defies the order of the universe, existing outside of time itself. Love so strong that "neither time nor the world" could tear it apart. On paper, the story may seem too far-fetched to believe, but somehow, someway,…
"We can have a whole life--"
"We have all eternity together."
a truly towering achievement. even with the uneven script and occasionally shaky editing there is an almost magical thread of beauty running through this. ruminations on life and love with shots that seem decades ahead of its time (the very beginning made me think immediately of solaris), yet at the same time so clearly of the 40s with its noir-ish narration and the classic hollywood feel -- its as timeless as jennie is and i firmly believe that was the goal (if not, it reached something beyond what the writer/director intended and what greater achievement than that). I'll be the first to admit this is not a flawless film…
An ethereal, inspiring fantasy-romance in the vein of The Ghost and Mrs Muir, Somewhere in Time and The Time Traveller's Wife, with listless artist Joseph Cotten finding a muse in the shape of a mysterious girl named Jennie (Jennifer Jones), who seems to belong to another era, and is growing up too fast.
Its feel is transcendent, with seductive visuals, a relentless, lushly magical Dimitri Tiomkin score (with a debt to Debussy), and persuasive performances from one of the casts of the decade, including memorable supporting roles for Lillian Gish, David Wayne and especially Ethel Barrymore.
The only parts that didn't work for me on first viewing were the confusingly conceived 'taking of the veil' sequence, and the waterlogged ending,…
A short narrative I wrote for the film:
I am lost. Worse, lost at sea in a storm. I flail my arms about desperately trying to stay above the waves calling out for help but only hearing the howling wind in return. Then I see it, a light flicker across the water. It is a lighthouse; it is you safely guiding me to shore.
But as I swim closer you appear to drift farther. I am chasing you, yet like your light on the water you are only a reflection. I see the shadow but never the whole. I am climbing a never-ending spiral staircase, always able to look up and see you yet never quite being able to reach…
Dieterle pulling off such a feat here, taking the total crap script and turning it into something oneiric and haunting, pushing its sappy fantasy premise into the realm of the abstract. This finally culminates in a stunning climax, washed in green like a tinted silent film (and recalling the expressive melodrama of the era), in which Dieterle finally dives completely into surreality. People who love Vertigo will probably really dig this.
"I know we were meant to be together. The strands of our lives are woven together and neither the world nor time can tear them apart." ~ Jennie Appleton
Struggling artist Eben Adams (Joseph Cotten) finally sells a painting to gallery owners Mathews (Cecil Kellaway) and Miss Spinney (Ethel Barrymore), a plucky spinster who takes him under her wing. While walking in the park, feeling a mixture of relief that finally a painting was bought but also dejection knowing his work is really not up to scratch, he meets a strange young girl, Jennie (Jennifer Jones). She is otherworldly and seeming to belong to another time, talking about people and places from long ago. Each time she reappears in his…
The Portrait of Jennie is a beautifully shot film that has a lot of great concepts. The movie does suffer from some wooden acting and corny, on the nose dialogue. I feel like if this same concept was done by Michael Powell and Emeric Pressburger this could've been a masterpiece. Though where the film does shine is in its atmosphere and how it makes you think about the nature of life and art. Which leads to a surreal, emotionally stirring conclusion.
holy tragic supernatural gothic romance ghost story, batman
This review may contain spoilers. I can handle the truth.
“Who knoweth if to die be but to live… and that called life by mortals be but death?” -- Euripides
At first I wasn't sure about Portrait of Jennie, because of the initial haphazard pacing and the strangeness of seeing Jennie as a child, but as the film moved along, it started to grow on me. Portrait of Jennie is a powerful, meaningful romantic drama about a man who learns to love. Eben Adams is instantly captivated by Jennie, becomes obsessed with her, and as his muse, she inspires the most amazing works of art from him. Both figuratively and literally, she transcends both space and time. Portrait of Jennie shows how love can change a man, inspire great works…
The last film produced and filmed by Selznick in Hollywood. It lost a ton of money. Notwithstanding the big loss, this is a pretty good film.
Strange and beautiful little gem
Portrait of Jennie (1948, William Dieterle)
Down-on-his-luck artist (Joseph Cotten) meets the mysterious out-of-time Jennie (Jennifer Jones) & he gets his mojo back, whilst they fall in love. Gorgeous B&W cinematography + striking colour finale. Unusual mystical dream-like film.
I see dead people. And yet she's not really a ghost. More like a time traveler who shows up in Cotten's life at various ages. Selznick tried really hard to make this work, but it was a bit too ahead of its time to work properly. The ending is a bit funny too. He's lost Jennie for good, but when he realizes he has her scarf he says, 'It's all right. I haven't lost her.' Jennifer Jones does a great job.
linda a antiga versão de your name. eterna rainha sempre a mulher
Romantic, haunting and really quite an odd film - really enjoyed this fantasy romance.
Jennifer Jones convincingly plays a character that ages about 20 years over the course of the film, which at less than 90 minutes clips along at a decent pace.
The final act is really mad but totally works and pulls the film together sweetly - if you enjoyed The Ghost and Mrs Muir, you'll like this.
Exquisito drama fantástico y romántico con un sublime Joseph Cotten.
It is easy to see why Bunuel liked this so much. Based on a novel that is clearly influenced by Henry James’ psychological ghost stories, the film begins with a pseudo scientific prelude about time and space to set the stage and ends with an effective shift to color via some lovely tinting of key scenes.
I would love to have seen a version by Bunuel or Val Lewton if only because this has Selznick’s stamp of quality to deal with and that almost robs it of its necessary weirdness.
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Every film that has ever been nominated for an Academy Award in any category. Enjoy!