As part of a divorce settlement, Theodore Ainsley gets custody of his older daughter Millicent, and his wife Elinor gets younger sister Jean. The two girls, normally inseparable, can't bear... See full summary »
Carl Behrend, son of a wealthy businessman, marries Pauli Arndt, daughter of a pacifist professor. When World War I breaks out, Carl is drafted. Pauli and her family and friends are left ... See full summary »
A very pretty girl, is always surrounded by many male admirers, much to the dismay of one very shy fellow, who never can get a chance to speak with her. One day the girl visits a friend in ... See full summary »
After a hard struggle the old man has just saved enough money to justify the marriage of his daughter and adopted son, when word comes from the oil fields nearby that his brother has lost ... See full summary »
W. Chrystie Miller,
In Renaissance Florence, Tito, a no-good young man pretending to be a scholar, wins the admiration of a blind man who has long looked for someone to finish his scholarly work. He has a ... See full summary »
A hundred years ago in a little seaside village, lived and played three children, Philip Ray, Annie Lee and Enoch Arden, the latter an orphan. They grew up together and both boys fell in ... See full summary »
In this latter day Cain and Abel story, a jealous brother strikes down his sibling just as a young burglar is about to enter the house. The jealous brother summons police, who then charge ... See full summary »
Henry B. Walthall,
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.
Bernard Herrmann was hired to write an original background score and did compose several themes, but due to various production delays as well as the fact that Herrmann was tiring of David O. Selznick's demands, he dropped out and was replaced by Dimitri Tiomkin who, at the insistence of Selznick, ended up using themes by Claude Debussy. At the time Tiomkin was condemned by his colleagues for his adaptations. All that remains of Herrmann's contribution is the haunting song sung by Jennie entitled "Where I Come From, Nobody Knows". See more »
Whilst talking to Eke, Eben is standing on the left of the screen. After a close-up shot of Eke, Eben is on the right. See more »
Originally, all television prints were completely in black-and-white, but by the 1980s the shot of the portrait at the very end was again shown in color. More recently, though, the greenish tint used in the storm scene (lasting about ten minutes) was also restored. Numerous sources, most notably "Leonard Maltin's Movie and Video Guide," have stated that the final reel, save for that color shot, was green, but it was the storm sequence alone, regardless of where it falls on the reels. While the 1990 Fox Video VHS release returned to black-and-white for the two scenes between the storm sequence and the painting-shot, the version currently shown on Turner Classic Movies has them in sepia tint. Which accurately reflects the original theatrical prints is undetermined, but both have the end titles in sepia. See more »
First of all, it is beautifully photographed - at times it looks as though you are watching a portrait moving. The acting is all terrific - Joseph Cotten is perfect as a down-on-his-luck artist who begins by selling a print to Cecil Kellaway and Ethel Barrymore. They encourage him to draw people rather than the still life pictures he'd been doing. He eventually runs into Jennie in Central Park and she intrigues him, to say the least. She mentions places and times that have long passed and sings a song that he cannot forget. The next time he runs into her she's grown up a little, then every time they see one another she'd matured more and more. They normally see each other in Central Park but he does her portrait and its a masterpiece.
Movie is very unconventional for its time - there are no opening credits, the end credits are listed as "The actors are Jennifer Jones, etc., The Supporting Actors are Ethel Barrymore, etc."; a black woman is used as an actual character rather than some sort of domestic; and its not all wrapped up in a pretty bow at the end. It might seem wordy and silly to some, but I really loved it.
I've admired Jennifer Jones since seeing "The Song of Bernadette" as a kid. Aside from that movie and "Beat the Devil", unfortunately I haven't seen a lot of her movies that seemed up to her talent. In this, she is exceptionally good and its not just a showcase for her talents put on screen by David O. Selznick - in reality, she's in it far less than Cotten.
I understand the movie won an Oscar for the special effects, which are good but I didn't need them to love the movie. 9/10.
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