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Title: Portrait of Jennie (1948)
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Edit
Cast
| Complete credited cast: | |||
| Jennifer Jones | ... | Jennie Appleton | |
| Joseph Cotten | ... | Eben Adams | |
| Ethel Barrymore | ... | Miss Spinney | |
| Lillian Gish | ... | Mother Mary of Mercy | |
| Cecil Kellaway | ... | Matthews | |
| David Wayne | ... | Gus O'Toole | |
 |
Albert Sharpe | ... | Moore |
| Henry Hull | ... | Eke | |
| Florence Bates | ... | Mrs. Jekes (landlady) | |
| Felix Bressart | ... | Pete | |
| Clem Bevans | ... | Capt. Cobb | |
|
|
Maude Simmons | ... | Clara Morgan |
Edit
Plot Summary
|
Add Synopsis
See All (24) »
Storyline
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. Written by Albert Sanchez Moreno (a.moreno@mindspring.com) with correction by John Knoderer (GodLovesEveryone.org@mazes.com)
Plot Keywords:
artist | reference to will rogers | reference to sarah bernhardt | cape cod massachusetts | death of parents |Taglines:
ARE YOU IN LOVE THIS WEEK? If you are - you'll get a double thrill from this most romantic of all love stories about a man who was in love with a girl who lived twenty years before his time. If you aren't - it may change your ideas on the subject for the rest of your life.Parents Guide:
Add content advisory for parents »
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See more on IMDbPro »
See full technical specs »
Details
Country:
USALanguage:
EnglishRelease Date:
22 April 1949 (USA) See more »Also Known As:
Tidal Wave See more »Edit
Box Office
Budget:
$4,041,000 (estimated)Company Credits
Show more on
IMDbPro »
Technical Specs
Runtime:
Color:
Black and White (green tint and sepia tone for final reel, excluding last shot)| Color (Technicolor) (final shot)Aspect Ratio:
1.37 : 1
Edit
Eben Adams: Now that I've found the perfect model, I'll paint her again and again.
Jennie Appleton: No, I - - I didn't mean that... I mean I want you to paint all the beautiful things in the world.
Eben Adams: [smiles, holds her tight] You're the most beautiful thing in the world.
See more »
Dated 1934
H · 30: W · 25 INCHES See more »
(uncredited)
Music by Claude Debussy
Adapted by Dimitri Tiomkin
Heard over opening narration
See more »
Did You Know?
Trivia
A 17 year old Anne Francis (uncredited and overdubbed) appears in the final scene as one of the three teenage girls admiring the portrait. See more »Goofs
During the scene where Eben first meets Jennie in the park, the snow on the front of her coat comes and goes. See more »Quotes
Jennie Appleton: Eben... I want always just to sit and watch you paint.Eben Adams: Now that I've found the perfect model, I'll paint her again and again.
Jennie Appleton: No, I - - I didn't mean that... I mean I want you to paint all the beautiful things in the world.
Eben Adams: [smiles, holds her tight] You're the most beautiful thing in the world.
See more »
Crazy Credits
The film opens with a book entitled THE PAINTINGS OF EBEN ADAMS with the inside page headed PORTRAIT OF JENNIEDated 1934
H · 30: W · 25 INCHES See more »
Soundtracks
Nuages(uncredited)
Music by Claude Debussy
Adapted by Dimitri Tiomkin
Heard over opening narration
See more »
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A bittersweet sense of melancholy permeates this stunning romantic fantasy, a film produced by David Selznick as a cinematic altar to his wife Jennifer Jones.
I adored Jones in Henry King's THE SONG OF BERNADETTE, but I love Jones (almost as much as Joseph Cotten did) in PORTRAIT OF JENNIE.
Cotten is Eben Adams, an artist who meets the enigmatic Jennie (Jones) in Central Park. Their time together is always limited for Jennie is compelled to return home to a place Cotten will never visit.
At first just a sweet schoolgirl, Jennie appears to have aged unnaturally every time she re-appears to Cotten -- eventually, she is old enough to acknowledge Cotten's romantic and carnal intentions towards her.
This unusual, unique studio pic epitomizes "dreamy" for it is exceptionally surreal and photographed in a strange, re-texturized black and white (von Trier's amazing BREAKING THE WAVES used a similar technique to introduce new scenes).
The climax, staged on a storm-swept island, is absolutely beautiful and immensely tragic.
Some have dismissed PORTRAIT OF JENNIE as amounting to nothing more than a series of pretty pictures. I passionately disagree. It is one of the greatest stories of true love ever filmed, and there is nothing false in its intensity or tone (not if you have loved like this).