Lydia MacMillan, a wealthy old woman who has never married, is invited by an old beau, Dr. Michael Fitzpatrick, for a reunion with the men who have been in her life to reminisce about the ... See full summary »
Edna May Oliver
An RAF squadron is brought down over occupied France. The flyers get to Paris in spite of the fact that the youngest, Baby, is injured. He must be hidden and his wounds cared for. The Gestapo has already issued orders for their arrest.
A Navy engineer, returning to the U.S. with his wife from a conference, finds himself pursued by Nazi agents, who are out to kill him. Without a word to his wife, he flees the hotel the ... See full summary »
Dolores del Rio
A Bank officer discovers a flaw in the U.S. extradition treaty with Brazil and decides to take advantage of it. On Friday, he steals a million dollars from the bank, knowing it won't be ... See full summary »
Andrew L. Stone
In 1858 France, Bernadette, an adolescent peasant girl, has a vision of "a beautiful lady" in the city dump. She never claims it to be anything other than this, but the townspeople all ... See full summary »
David Wayne and Albert Sharpe, who both have supporting roles in this film, were the stars of the original stage production of "Finian's Rainbow". That play opened on Broadway the year before this film was released and was playing there at the same time this film was being made. See more »
As Eben clings to Jennie on the rocks at the Land's End lighthouse, they speak to one another, but their lips either aren't moving or aren't in sync with what they're saying. See more »
Eben... I want always just to sit and watch you paint.
Now that I've found the perfect model, I'll paint her again and again.
No, I - - I didn't mean that... I mean I want you to paint all the beautiful things in the world.
[smiles, holds her tight]
You're the most beautiful thing in the world.
See more »
No credits at all are shown at the beginning except for the studio logo, not even the title of the film. Instead, we hear a narrator speaking the prologue, and then announcing, "And now, 'Portrait of Jennie'". The credits are saved for the end of the picture. See more »
"Portrait of Jeannie" ran again tonight on TCM and yet again I sat there mesmerized, and yes, admittedly in tears. It is a haunting film, one that once seen echoes in memory. It fulfills an ideal of love found and lost, with a promise that it will be found again, this time forever.
The use of Debussy is inspiring, as is the sepia tone shots which impressed me even more than the famed green tinted finale of the storm. I do wonder how that effect of sepia was achieved, as if a rough layer of burlap was draped over the lens to create a look of photographs from a lost age. It creates a sense of 19th and early 20th century images that is stunning. I was in NYC this summer for a couple of days and found myself at a bookstore on Columbus Circle doing a book signing. After I was finished there I wandered into Central Park, on a mission to find the locations of where the wonderful sequence of Jeannie, ice skating, meets Joseph Cotton and their first stunningly filmed encounter at night on a pathway. What a thrill to find those spot.
I grew up in NJ back in the 1950s and remember the stories about the great blizzard of 1948 and do wonder if that blizzard was used by the director for the incredible outdoor shots of Jeannie's first meeting with her lover born too late and the ice skating scene.
To any who have yet to see this film. You might be a cynic, jaded by all that our world tosses your way. This film can reawaken within you the dream, or memory of an ideal love, the bittersweet sense of loss and of promise. Believe me, I tend towards "guy" films, but with "Jeannie," cynic that I can be at times, I still pull out the box of tissues, sit back, have a good cry (something I don't admit to my macho friends) and marvel at the timelessness of this incredible film.
73 of 79 people found this review helpful.
Was this review helpful to you?