Beautiful half-breed Pearl Chavez becomes the ward of her dead father's first love and finds herself torn between her sons, one good and the other bad.
A letter is addressed to three wives from their "best friend" Addie Ross, announcing that she is running away with one of their husbands - but she does not say which one.
An adventuresome young man goes off to find himself and loses his socialite fiancée in the process. But when he returns 10 years later, she will stop at nothing to get him back, even though she is already married.
While conducting a symphony orchestra, Sir Alfred De Carter imagines three different ways of dealing with his wife's suspected infidelity, then tries acting out his fantasies, but things do... See full summary »
A writer falls in love with a young socialite and they're soon married. But her obsessive love for him threatens to be the undoing of them both, and everyone else around them.
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.
This was cinematographer Joseph H. August's last film. He died in late 1947 from a heart attack before the long and tumultuous production was completed, and was posthumously nominated for an Academy Award for Best Black & White Cinematography in 1949. Lee Garmes finished shooting the film, uncredited. See more »
Goofs
Although the movie opens in the winter of 1934, in the scene where Eben first meets Jennie in the park, several 1940s cars can be seen passing in the background. See more »
There are no credits at all at the beginning of the film; even the title is not disclosed until the end of the film. Furthermore, several credited workers on the film are not designated by their actual function on the movie, but simply as "staff executives". See more »
Alternate Versions
During premiere engagements, the climactic storm sequence, along with being tinted green, was screened in Magnascope, an early widescreen format. The audio also changed from mono to an experimental multi-channel sound, to intensify the scene's overall effect. At the beginning of the sequence the curtains surrounding the screen would open, and the scene would fill the wider screen surface. At the end of the scene the curtains closed, and the remainder of the film was shown in its 1:1.37 ratio format, while the film's soundtrack reverted back to monaural. See more »
This is my first comment for this site, so be gentle. The history of PORTRAIT OF JENNIE is fairly well known...a love letter from producer David O. Selznick to Jennifer Jones...and it shows by giving her, in my opinion, one of the best showcases for her talents at that time. I have read the pros and cons about this film, but each time I watch it, which isn't often, being the romantic that I am, I can sense it in the way she was treated in the film.
Why don't I watch it that often? Because it touches me in personal ways in terms of the loneliness of the two main characters, the yearning to find someone and not be alone. But most importantly, the music score arranged by the great Dmitri Tiomkin from the works of Claude Debussy. I am sorry that nobody has ever issued a track LP or CD of Tiomkin's score. To me it is a beautiful, sometimes haunting arrangement, with the theme used for Jennie touching me...I believe it is called THE GIRL WITH THE FLAXEN HAIR...I could be wrong. At points it became painful for me to watch as the film touches certain personal pains (the loneliness part particularly, more so since I lost my parents recently after caring for them and have no family to speak of). When the final scene occurs, showing the portrait itself in the museum in full color and Tiomkin's music plays over it, I am in tears. It sounds stupid, doesn't it...
The film itself is not the perfect movie that Selznick had wanted but the flaws are minor to the final result. It is a film not just for those with a romantic streak still in them, but also for the lonely, maybe giving them a message of hope.
I am glad that, unlike many classic films, this one has been preserved and is available on video. Well, that's my rambling on the subject. It may not be film criticism but its how I feel about PORTRAIT OF JENNIE.
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This is my first comment for this site, so be gentle. The history of PORTRAIT OF JENNIE is fairly well known...a love letter from producer David O. Selznick to Jennifer Jones...and it shows by giving her, in my opinion, one of the best showcases for her talents at that time. I have read the pros and cons about this film, but each time I watch it, which isn't often, being the romantic that I am, I can sense it in the way she was treated in the film.
Why don't I watch it that often? Because it touches me in personal ways in terms of the loneliness of the two main characters, the yearning to find someone and not be alone. But most importantly, the music score arranged by the great Dmitri Tiomkin from the works of Claude Debussy. I am sorry that nobody has ever issued a track LP or CD of Tiomkin's score. To me it is a beautiful, sometimes haunting arrangement, with the theme used for Jennie touching me...I believe it is called THE GIRL WITH THE FLAXEN HAIR...I could be wrong. At points it became painful for me to watch as the film touches certain personal pains (the loneliness part particularly, more so since I lost my parents recently after caring for them and have no family to speak of). When the final scene occurs, showing the portrait itself in the museum in full color and Tiomkin's music plays over it, I am in tears. It sounds stupid, doesn't it...
The film itself is not the perfect movie that Selznick had wanted but the flaws are minor to the final result. It is a film not just for those with a romantic streak still in them, but also for the lonely, maybe giving them a message of hope.
I am glad that, unlike many classic films, this one has been preserved and is available on video. Well, that's my rambling on the subject. It may not be film criticism but its how I feel about PORTRAIT OF JENNIE.