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Portrait of Jennie

Movie poster.
Directed by William Dieterle
Produced by David O. Selznick
David Hempstead
Written by Paul Osborn
Peter Berneis (screenplay)
Leonardo Bercovici (adaptation)
Robert Nathan (novel)
Starring Jennifer Jones
Joseph Cotten
Music by Dimitri Tiomkin
Cinematography Joseph H. August
Editing by William Morgan
Distributed by Selznick International Pictures
Release date(s) December 25, 1948
Running time 86 min.
Country US
Language English

Portrait of Jennie is a 1948 fantasy film based on the novella by Robert Nathan. The film was directed by William Dieterle and produced by David O. Selznick. It stars Jennifer Jones and Joseph Cotten.

Contents

Plot

In 1934, impoverished painter Eben Adams (Joseph Cotten) meets a fey little girl named Jennie Appleton (Jennifer Jones) in Central Park, New York. She is wearing old-fashioned clothing. He makes a sketch of her from memory which involves him with art dealer Miss Spinney (Ethel Barrymore), who sees potential in him. This inspires him to paint a "Portrait Of Jennie".

Eben encounters Jennie at intermittent intervals. Strangely, she appears to be growing up much more rapidly than is possible. He soon falls in love with her, but is puzzled by the fact that she seems to be experiencing events that he discovers took place many years previously as if they had just happened. He sets out to investigate but does not reveal what he discovers to anyone, and is puzzled by what he finds.

Cast

Production

The book on which the film was based first attracted the attention of David O. Selznick, who immediately purchased it as a vehicle for rising star Jennifer Jones. Filming began in early 1947 in New York City and Boston, Massachusetts, but Selznick was unhappy with the results and scheduled re-shoots as well as hiring and firing five different writers before the film was completed in October 1948. The New York shooting enabled Selznick to use Albert Sharpe and David Wayne who were both appearing on stage in Finian's Rainbow, giving an Irish flair to characters and the painting in the bar that wasn't in Nathan's novel.

As Portrait of Jennie was a fantasy, Selznick insisted on filming on actual Massachusetts (The Graves Light) and New York City locations (Central Park, The Cloisters, and The Metropolitan Museum of Art) as opposed to studio sets that dramatically increased the films production costs.[1] The film's major overhaul came when Selznick added a tinted color sequence for the final scenes. The final shot of the painting, appearing just before the credits, is in full Technicolor.

Portrait of Jennie was highly unusual for its time in that it had no opening credits as such, except for the Selznick Studio logo. All of the other credits appear at the end. Before the film proper begins, the title is announced by the narrator (after delivering a spoken prologue, he says, "And now, 'Portrait of Jennie'").


The portrait of Jennie (Jennifer Jones) was painted by artist Robert Brackman. The painting became one of Selznick's prized possessions, and he displayed it in his home after he and Jones married in 1949.

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 shoots many of the scenes through a canvas making the scenes look like actual paintings. August, who used many lenses from silent film days[2] died shortly after completing the film. He was posthumously nominated for an Academy Award for Best Cinematography.

Dimitri Tiomkin used themes by Claude Debussy, including Prelude to the Afternoon of a Faun, the two Arabesques, 'Nuages' and 'Sirènes' from the suite Nocturnes, and La fille aux cheveux de lin, with the addition of Bernard Herrmann's "Jennie's Theme" to a song featured in Nathan's book ("Where I came from, nobody knows, and where I am going everyone goes"), utilizing a theremin. Herrmann was assigned the original composing duties for the film, but left during its extended shooting schedule.

A certain scene - of Jennie and Eben having a picnic after witnessing the ceremony in the convent - features in the original screenplay. It was filmed, but deleted when it looked as if Jennie's hair was blending into the tree next to her. The scene that featured Jennie doing a dance choreographed by Jerome Robbins took over 10 days to film,[3] but wasn't used in the completed film.

Differences between the novel and the screenplay

Though closely following Nathan's novella but set in 1934, there are several differences. In the novella, all the characters can see Jennie; in the film only Eben can. The character of Arne, Eben's friend and fellow artist who appeared in both Nathan's work and an original draft of the screenplay is left out of the completed film.[4] The characters of Gus and the publican were made Irish to accommodate David Wayne and Albert Sharpe, who at that time were appearing in the original stage production of Finian's Rainbow. The mural that Eben painted in the book was one of a riverside picnic with someone noticing that Eben had subconsciously painted what looked like a drowned woman on the bank. The film provides a more thrilling climax where Eben attempts to save Jennie from the storm and tidal wave whilst the book has Jennie and Eben living simultaneously, with Jennie being washed off an ocean liner as she returns from a trip to Europe.

Reception

When it was released in December 1948, it was not a success, but today it is considered a classic in the genre.

The song, "A Portrait of Jennie", became a hit for Nat King Cole, though that song is never heard in the film.

Joseph Cotten's performance as Eben Adams won the International Prize for Best Actor at the 1949 Venice International Film Festival.

An 80 minute version with several scenes deleted of Cotten's interaction with Barrymore and Kellaway was shown on American television.

Radio program

A half-hour radio adaptation of the novel was presented in 1946 on CBS radio's misleadingly titled Academy Award Theater with Joan Fontaine and John Lund, two years before it was filmed.[5 ]

References

  1. ^ Cotton, Joseph Vanity Will Get You Somewhere iUniverse 2000
  2. ^ Thomson, David Showman: The Life of David O. Selznik Knopf 1992
  3. ^ Thomson
  4. ^ http://www.weeklyscript.com/Portrait%20Of%20Jennie%20(1948).txt
  5. ^ Terrace, Vincent. Radio Programs, 1924-1984:A Catalog of Over 1800 Shows. Jefferson, NC: McFarland. ISBN 0-7864-0351-9.  

External links

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Portrait of Jennie
Directed by William Dieterle
Produced by David O. Selznick
David Hempstead
Written by Paul Osborn
Peter Berneis (screenplay)
Leonardo Bercovici (adaptation)
Robert Nathan (novel)
Starring Jennifer Jones
Joseph Cotten
Music by Dimitri Tiomkin
Cinematography Joseph H. August
Editing by William Morgan
Distributed by Selznick International Pictures
Release date(s) December 25, 1948
Running time 86 min.
Country US
Language English

Portrait of Jennie is a 1948 fantasy film based on the novella by Robert Nathan. The film was directed by William Dieterle and produced by David O. Selznick. It stars Jennifer Jones and Joseph Cotten.

Contents

Plot

In 1934, impoverished painter Eben Adams (Joseph Cotten) meets a fey little girl named Jennie Appleton (Jennifer Jones) in Central Park, New York. She is wearing old-fashioned clothing. He makes a sketch of her from memory which involves him with art dealer Miss Spinney (Ethel Barrymore), who sees potential in him. This inspires him to paint a "Portrait Of Jennie".

Eben encounters Jennie at intermittent intervals. Strangely, she appears to be growing up much more rapidly than is possible. He soon falls in love with her, but is puzzled by the fact that she seems to be experiencing events that he discovers took place many years previously as if they had just happened. He sets out to investigate but does not reveal what he discovers to anyone, and is puzzled by what he finds.

Cast

Production

The book on which the film was based first attracted the attention of David O. Selznick, who immediately purchased it as a vehicle for rising star Jennifer Jones. Filming began in early 1947 in New York City and Boston, Massachusetts, but Selznick was unhappy with the results and scheduled re-shoots as well as hiring and firing five different writers before the film was completed in October 1948. The New York shooting enabled Selznick to use Albert Sharpe and David Wayne who were both appearing on stage in Finian's Rainbow, giving an Irish flair to characters and the painting in the bar that wasn't in Nathan's novel.

As Portrait of Jennie was a fantasy, Selznick insisted on filming on actual Massachusetts (The Graves Light) and New York City locations (Central Park, The Cloisters, and The Metropolitan Museum of Art) as opposed to studio sets that dramatically increased the films production costs.[1] The film's major overhaul came when Selznick added a tinted color sequence for the final scenes. The final shot of the painting, appearing just before the credits, is in full Technicolor.

Portrait of Jennie was highly unusual for its time in that it had no opening credits as such, except for the Selznick Studio logo. All of the other credits appear at the end. Before the film proper begins, the title is announced by the narrator (after delivering a spoken prologue, he says, "And now, 'Portrait of Jennie'").

The portrait of Jennie (Jennifer Jones) was painted by artist Robert Brackman. The painting became one of Selznick's prized possessions, and it was displayed in his home after he married Jones in 1949.

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[2] died shortly after completing the film. He was posthumously nominated for an Academy Award for Best Cinematography.

Dimitri Tiomkin used themes by Claude Debussy, including Prélude à l'après-midi d'un faune (Prelude to the Afternoon of a Faun), the two Arabesques, "Nuages" and "Sirènes" from the suite Nocturnes, and La fille aux cheveux de lin, with the addition of Bernard Herrmann's "Jennie's Theme" to a song featured in Nathan's book ("Where I came from, nobody knows, and where I am going everyone goes"), utilizing a theremin. Herrmann was assigned the original composing duties for the film, but left during its extended shooting schedule.

A certain scene - of Jennie and Eben having a picnic after witnessing the ceremony in the convent - features in the original screenplay. It was filmed, but deleted when it looked as if Jennie's hair was blending into the tree next to her. The scene that featured Jennie doing a dance choreographed by Jerome Robbins took over 10 days to film,[3] but wasn't used in the completed film.

Differences between the novel and the screenplay

Though closely following Nathan's novella but set in 1934, there are several differences. In the novella, all the characters can see Jennie; in the film only Eben can. The character of Arne, Eben's friend and fellow artist who appeared in both Nathan's work and an original draft of the screenplay is left out of the completed film.[4] The characters of Gus and the publican were made Irish to accommodate David Wayne and Albert Sharpe, who at that time were appearing in the original stage production of Finian's Rainbow. The mural that Eben painted in the book was one of a riverside picnic with someone noticing that Eben had subconsciously painted what looked like a drowned woman on the bank. The film provides a more thrilling climax where Eben attempts to save Jennie from the storm and massive tidal wave whilst the book has Jennie being washed off an ocean liner as she returns from a trip to Europe.

Reception

When it was released in December 1948, it was not a success, but today it is considered a classic in the fantasy genre.

The song, "A Portrait of Jennie", became a hit for Nat King Cole, though that song is never heard in the film.

Joseph Cotten's performance as Eben Adams won the International Prize for Best Actor at the 1949 Venice International Film Festival.

Radio program

A half-hour radio adaptation of the novel was presented in 1946 on CBS radio's misleadingly titled Academy Award Theater with Joan Fontaine and John Lund, two years before it was filmed.[5]

References

  1. ^ Cotton, Joseph Vanity Will Get You Somewhere iUniverse 2000
  2. ^ Thomson, David Showman: The Life of David O. Selznik Knopf 1992
  3. ^ Thomson
  4. ^ http://www.weeklyscript.com/Portrait%20Of%20Jennie%20(1948).txt
  5. ^ Terrace, Vincent. Radio Programs, 1924-1984:A Catalog of Over 1800 Shows. Jefferson, NC: McFarland. ISBN 0-7864-0351-9. 

External links


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