"Every portrait that is painted with feeling is a portrait of the artist, not of the sitter." (Oscar Wilde)
While a portrait proved to be a convincing highlight of the 1940s noir genre, it also occurred wonderfully effective in Hollywood fantasy having its purest manifestation in William Dieterle's PORTRAIT OF JENNY. Based upon Robert Nathan's novella, produced by David O Selznick, the film is a captivating insight into an artist's world, the things, events and even person that exist within his world and feed the ever-present need for inspiration. But the most noteworthy aspect about this film, perhaps, is the appearance of Jenny – the film's 'Mona Lisa' who helps a painter Eben Adams fulfill his dreams of love. Is it all real or just a product of Utopian fantasy that becomes obsession in time? Seemingly a rhetorical question but one thing is certain: there is hardly any film which addresses the idea of loving so daringly and profoundly: forget time and its limitations, forget the rational voices of this world.
In one of the most memorable scenes of the movie, Jenny and Eben talk of when tomorrow is and the core idea of what we encounter in this film lies in her answer: 'This was tomorrow once...' The title portrait of Jenny being painted by the film's protagonist as well as Jenny's 'ghost' character appear to mirror the artist's vision of his art, his inspiration and himself. Within the lack of inspiration for a more prosperous and successful work, Eben wanders the wintry Central Park in New York City (in almost endless winter of 1934) and meets a girl, Jenny (Jennifer Jones), the daughter of artists whose enthusiasm and mystery equal to his artistic search for purity and, consequently, catharsis. 'There is something extraordinary about this kid...' the thought occupies his mind and he strives to get to know her better. His search leads him to some dates, facts and people. Sarah Bernhardt in America in 1934? (as announced in the newspaper Jenny owned). Gradually, past, presence and future are vague and unimportant.
It seems noteworthy that all who help him in that search are women, from Ms Spinney (Ethel Barrymore) through Clara Morgan (Maude Simmons) to Sister Illuminata (what a name) played by Lillian Gish. Jenny is strangely unavailable to reveal more of herself. Their feelings get more lovable and his painting more absorbing but the constant feeling of inevitable end occupies the mysteries that culminate around him. 'We all know so little...' yet he is the chosen one to know something more of mystery than other people. He knows Jenny as a kid who makes a snowman and loves chocolate and a woman who shares her love. What is it if not the reflection of his lacks within the world of feelings where life and art are closely knit? The object of his desire is what he puts on canvas: Jenny. In this way, he represents all true artists who give all of themselves for the sake of their work in order to share passion with others and 'inspire' other artists. D.H. Lawrence once said a lovely sentence that comes to mind here: "Every true artist is the salvation of every other."
Apart from the in-depth analysis of the main protagonist, the director handles the difficult, unusual theme with its make-belief efforts, its idea of transcendent experience and the mysterious undertones in a subtle manner. The lovely contribution of cinematographer Joseph H. August proves exceptional in many scenes that provide the dreamlike atmosphere to the whole experience. Although he considerably drew on some techniques from the silent era, the effect is haunting here. Many scenes, particularly the ones when Eben meets Jenny look like actual paintings. Consider the glimpses of skyscrapers and Central Park in NYC and the gorgeous use of sunlight in Jenny/Eben scenes. The scene when Gus, Eben's friend, sings 'Yonder Yonder' and plays the harp is also charming. The climactic moment of hurricane and the shot of 'endless staircase' have stamped August as one of the best cinematographers. Another great job among the crew is done by Dimitri Tiomkin with the dreamlike music score that draws on the atmospheric themes by Claude Debussy. The music plays a decisive role exceptionally in the theme where subconsciousness is profoundly influenced. And the performances...
The movie was actually a vehicle for Jennifer Jones and deservedly so because she highlights the most effective power of acting. Our attention is on her, either if it is a painted portrait (commissioned to Robert Brackham) or ghost-like, subtle, sweet Jenny. She evokes the undertones of the story with her smile and genuine behavior at her leading man, Joseph Cotton. The chemistry between the two is noteworthy since that aspect makes for the successful perception of their love, beautiful but illusive love. Joseph Cotton is emotional and honest as a performer in the scenes with Jenny. In the scenes without Jenny, however, he skillfully depicts a 'lack' and calls our attention on the fact that something is missing in his life. Lillian Gish, a great silent movie star, needs a special mention and portrays the memory of the past here. Albert Sharpe and David Wayne are interesting as Eben's pals supplying the characters with an Irish flair (and the situation of Ireland in the early 1930s). But the actress who stands out among the supporting cast is Ethel Barrymore as memorable Miss Spinney, the gallery owner, who understands the torments of an artist better than any other 'living body' of the time and set.
Though failed as a 'smashing success' at the box office of the 1940s, PORTRAIT OF JENNY is worth seeing as a representative of fantasy genre and a pleasant love story within the artist's mind. Running sole 85 minutes, it may offer you a moment to forget the flying time. Time which comes from...nobody knows...and where it is going, everyone goes. However, don't people forget time when they are in love?
While a portrait proved to be a convincing highlight of the 1940s noir genre, it also occurred wonderfully effective in Hollywood fantasy having its purest manifestation in William Dieterle's PORTRAIT OF JENNY. Based upon Robert Nathan's novella, produced by David O Selznick, the film is a captivating insight into an artist's world, the things, events and even person that exist within his world and feed the ever-present need for inspiration. But the most noteworthy aspect about this film, perhaps, is the appearance of Jenny – the film's 'Mona Lisa' who helps a painter Eben Adams fulfill his dreams of love. Is it all real or just a product of Utopian fantasy that becomes obsession in time? Seemingly a rhetorical question but one thing is certain: there is hardly any film which addresses the idea of loving so daringly and profoundly: forget time and its limitations, forget the rational voices of this world.
In one of the most memorable scenes of the movie, Jenny and Eben talk of when tomorrow is and the core idea of what we encounter in this film lies in her answer: 'This was tomorrow once...' The title portrait of Jenny being painted by the film's protagonist as well as Jenny's 'ghost' character appear to mirror the artist's vision of his art, his inspiration and himself. Within the lack of inspiration for a more prosperous and successful work, Eben wanders the wintry Central Park in New York City (in almost endless winter of 1934) and meets a girl, Jenny (Jennifer Jones), the daughter of artists whose enthusiasm and mystery equal to his artistic search for purity and, consequently, catharsis. 'There is something extraordinary about this kid...' the thought occupies his mind and he strives to get to know her better. His search leads him to some dates, facts and people. Sarah Bernhardt in America in 1934? (as announced in the newspaper Jenny owned). Gradually, past, presence and future are vague and unimportant.
It seems noteworthy that all who help him in that search are women, from Ms Spinney (Ethel Barrymore) through Clara Morgan (Maude Simmons) to Sister Illuminata (what a name) played by Lillian Gish. Jenny is strangely unavailable to reveal more of herself. Their feelings get more lovable and his painting more absorbing but the constant feeling of inevitable end occupies the mysteries that culminate around him. 'We all know so little...' yet he is the chosen one to know something more of mystery than other people. He knows Jenny as a kid who makes a snowman and loves chocolate and a woman who shares her love. What is it if not the reflection of his lacks within the world of feelings where life and art are closely knit? The object of his desire is what he puts on canvas: Jenny. In this way, he represents all true artists who give all of themselves for the sake of their work in order to share passion with others and 'inspire' other artists. D.H. Lawrence once said a lovely sentence that comes to mind here: "Every true artist is the salvation of every other."
Apart from the in-depth analysis of the main protagonist, the director handles the difficult, unusual theme with its make-belief efforts, its idea of transcendent experience and the mysterious undertones in a subtle manner. The lovely contribution of cinematographer Joseph H. August proves exceptional in many scenes that provide the dreamlike atmosphere to the whole experience. Although he considerably drew on some techniques from the silent era, the effect is haunting here. Many scenes, particularly the ones when Eben meets Jenny look like actual paintings. Consider the glimpses of skyscrapers and Central Park in NYC and the gorgeous use of sunlight in Jenny/Eben scenes. The scene when Gus, Eben's friend, sings 'Yonder Yonder' and plays the harp is also charming. The climactic moment of hurricane and the shot of 'endless staircase' have stamped August as one of the best cinematographers. Another great job among the crew is done by Dimitri Tiomkin with the dreamlike music score that draws on the atmospheric themes by Claude Debussy. The music plays a decisive role exceptionally in the theme where subconsciousness is profoundly influenced. And the performances...
The movie was actually a vehicle for Jennifer Jones and deservedly so because she highlights the most effective power of acting. Our attention is on her, either if it is a painted portrait (commissioned to Robert Brackham) or ghost-like, subtle, sweet Jenny. She evokes the undertones of the story with her smile and genuine behavior at her leading man, Joseph Cotton. The chemistry between the two is noteworthy since that aspect makes for the successful perception of their love, beautiful but illusive love. Joseph Cotton is emotional and honest as a performer in the scenes with Jenny. In the scenes without Jenny, however, he skillfully depicts a 'lack' and calls our attention on the fact that something is missing in his life. Lillian Gish, a great silent movie star, needs a special mention and portrays the memory of the past here. Albert Sharpe and David Wayne are interesting as Eben's pals supplying the characters with an Irish flair (and the situation of Ireland in the early 1930s). But the actress who stands out among the supporting cast is Ethel Barrymore as memorable Miss Spinney, the gallery owner, who understands the torments of an artist better than any other 'living body' of the time and set.
Though failed as a 'smashing success' at the box office of the 1940s, PORTRAIT OF JENNY is worth seeing as a representative of fantasy genre and a pleasant love story within the artist's mind. Running sole 85 minutes, it may offer you a moment to forget the flying time. Time which comes from...nobody knows...and where it is going, everyone goes. However, don't people forget time when they are in love?