With the holidays around us, comes more traditional watches my mom and I had, IT'S A WONDERFUL LIFE (1946), A CHRISTMAS STORY (1983), NATIONAL LAMPOON CHRISTMAS VACATION (1989), A CHARLIE BROWN CHRISTMAS (1965), films that played in the background for the sake of "Deck them halls. And Ho-Ho-Ho," HOLIDAY AFFAIR (1949), THE SHOP AROUND THE CORNER (1940), THE BISHOP'S WIFE (1947), THE MAN WHO CAME TO DINNER (1941), as well as films that were new to us, IT HAPPENED ON 5TH AVENUE (1947), my own discovery I enjoy CHRISTMAS EVE (1947), but none that struck a chord as much as I'LL BE SEEING YOU (1944) starring Ginger Rogers and Joseph Cotten, if for no other reason than for our old friend, Ol' Joe (to read my piece on how Ol' Joe became Ol' Joe: "JUST SINGLETON"), if you get an opportunity this holiday season, it's a film I encourage you to watch, along with another Ol' Joe film, the brew of the day ...
… PORTRAIT OF JENNIE (1948).
Before we get started, POTRAIT OF JENNIE is not a Christmas film, in spite of its first release on Christmas Day, 1948. Yet it is perfect for a wintertime watch. It was this film that introduced us to Joseph Cotten and Jennifer Jones as an on-screen couple (together for SINCE YOU WENT AWAY (1944), LOVE LETTERS (1945), DUEL IN THE SUN (1946), and PORTRAIT OF JENNIE (1948), having discovered Joseph by way of SHADOW OF A DOUBT (1943) — being served at my CINEMA COFFEE house soon, which in turn we began calling the film just "Uncle Charlie," swept away by his performance, becoming Joseph Cotten fans immediately!
Now, as I advised in my piece "JUST SINGLETON" on topic of LOVE LETTERS (1945), whether or not you are a fan of Jennifer Jones, even after learning her side of the story, isn't what I'm here for. It's films as LOVE LETTERS and POTRAIT OF JENNIE you can put your personal feelings aside and just watch the film for what it is … A film worth watching for any film fan. I've done that for a lot with actors I can't say, for whatever reason, I feel no connection to on-screen. And if I'm to write an open letter, Jennifer Jones is one of them, and yet, there are a lot of her films I not only like but love! CLUNY BROWN (read my CINEMA COFFEE piece: "What the devil are Belinskis?", SINCE YOU WENT AWAY, LOVE LETTERS, INDISCRETION OF AN AMERICAN WIFE, THE SONG OF BERNADETTE (leading Jennifer Jones to win an Oscar for Best Actress in a Leading Role), BEAT THE DEVIL, LOVE IS A MANY-SPLENDORED THING, THE MAN IN THE GRAY FLANNEL SUIT to begin with. When an actor can pull you into a story, engage you long enough to watch, and be interested in the film … That's acting.
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PORTRAIT OF JENNIE was a David O. Selznick Production based on a novella by Robert Nathan titled "Jennie." In which Selznick intended to film over a course of time, as in the story Jennie ages each time Eben he sees her, with the idea of casting Shirley Temple, allowing her to age in real time, shooting those scenes of age progression as they occurred, editing the film together. An idea he eventually abandoned due to the complications that could arise filming it as such.
Jennifer Jones and Joseph Cotton in PORTRAIT OF JENNIE (1948)
The casting of the film outside of the leads, Jennifer and Joseph, includes a very solid cast, making the film watching experience more heartwarming: Ethel Barrymore, Cecil Kellaway, Lillian Gish, in his film debut, David Wayne, Henry Hull, Florence Bates, Felix Bressart, Nancy Olson, too making her film debut, a 17-year-old Anne Francis, in a bit role, and Maude Simms.
Without giving the story away, if unseen, or to add to thoughts for those who have, the film did not do good at the box office under its initial release in 1948, nor its re-release in 1950 under a new title TIDAL WAVE. A drastic title change from PORTRAIT OF JENNIE, and while a tidal wave plays an important role in the film, it's the portrait of Jennifer's "Jennie" (by Joseph Cotton in the film) that's at the heart. So inspired is Eben (Cotten) by Jennie, he can think nor paint anyone or anything else. She has not only become his life line so to speak, but his purpose, his purpose for living. Just to see her, just to be with her.
"Now that I've found the perfect model, I'll paint her again and again."
The portrait, or rather portraits (their were two painted by the artist after he had to abandon the first painting) of Jennie shown in the film was created by portrait artist Robert Brackman, modeled by Jones from a number of sittings at Robert's studio in Connecticut. After which were hung in the home of David O. Selznick from 1946 until is death in 1965.
The music heard in the film, by Dimitri Tiomkin, (though are themes from Claude Debussy by the insistence of David O. Selznick), came into the picture after composer Bernard Hermann was to write an original score and themes for the film, only to walk away from the project all together, again due to … David O. Selznick. I say that to say, the song I find captures the films soul, "Where I Come From, Nobody Knows," a song my mom and I instantly connected with as such is life once we begin to live it and understand its complex, un-understandable, inexplainable occurrence, is the only piece by Hermann that remains in the film.
As with all good cinema, more can always be added to describe each scene in detail, spoilers, trivia, but PORTRAIT OF JENNIE really sells itself as soon as you begin watching.
"Since the beginning, Man has looked into the awesome reaches of infinity and asked the eternal questions : "What is time ? What is space ? "What is life ? What is death ?"
There's a canvas-esque gaze in various frames contributing to life painted on screen effect. Watching the film as a portrait itself. Cinematography by Joseph H. August (THE DEVIL AND DANIEL WEBSTER (1941), PRIMROSE PATH (1940), GUNGA DIN (1939)), who passed away at Selznick Studios in Culver City during filming (to be completed by Lee Garmes without credit), it's a unique touch. All the insides and outs between differences on the novella versus the film melt away. Differences, I myself, didn't discover until after my first time watching, because when a film leaves me inspired, where you've enjoyed it so much you want to get closer, digging into the story further, you want to rewatch it all over again.
Which I wholeheartedly recommend you begin doing without delay! Grab your coffee mug, fill it with your favorite brew or chai, and watch PORTRAIT OF JENNIE the first chance you get this holiday season. It's worth the watch … #ForMyMom
For my other CINEMA COFFEE blog pieces:
#ForMyMom Cinema Coffee ... | COFFEE CINEMA: Talking Streetcar | CINEMA COFFEE: "Et tu, Brute?" | CINEMA COFFEE: "La Chocolaterie" | CINEMA COFFEE: "Milk? I loathe milk!" | CINEMA COFFEE: "Elderberry Wine ..." | CINEMA COFFEE: "The choice I never had ..." | CINEMA COFFEE: "The smell of Mimosa" | CINEMA COFFEE: "Mighty like a Rose" | CINEMA COFFEE: "Don't cry on the rolls" | CINEMA COFFEE: "You're the first Kansas I ever met" | CINEMA COFFEE: "Everybody calls me Gracie" | CINEMA COFFEE: "What the devil are Belinskis?!" | CINEMA COFFEE: "Hello friends and enemies." | CINEMA COFFEE: "Stop remindin' me of heaven." | CINEMA COFFEE: "Even Gatsby could happen" | CINEMA COFFEE: "I made a wish" | CINEMA COFFEE: Audie Murphy | CINEMA COFFEE: Put The Blame on Mame | CINEMA COFFEE: "Just Singleton." | CINEMA COFFEE: "Where I Come From, Nobody Knows" | Film Therapy: Coping through Cinema | CINEMA COFFEE: Socks fall down | CINEMA COFFEE: "The moon's reaching for me" | CINEMA COFFEE: The Horne: Luso World Cinema Blogathon | CINEMA COFFEE: Aunt Bettye Lightsy | CINEMA COFFEE: I never lose | CINEMA COFFEE: "I have a mother!" | CINEMA COFFEE: THE SIGN OF GEMINI | CINEMA COFFEE: Venus Rising | CINEMA COFFEE: Stan vs Geek | CINEMA COFFEE: "Positively the same dame"
#ForMyMom Cinema Coffee ... | COFFEE CINEMA: Talking Streetcar | CINEMA COFFEE: "Et tu, Brute?" | CINEMA COFFEE: "La Chocolaterie" | CINEMA COFFEE: "Milk? I loathe milk!" | CINEMA COFFEE: "Elderberry Wine ..." | CINEMA COFFEE: "The choice I never had ..." | CINEMA COFFEE: "The smell of Mimosa" | CINEMA COFFEE: "Mighty like a Rose" | CINEMA COFFEE: "Don't cry on the rolls" | CINEMA COFFEE: "You're the first Kansas I ever met" | CINEMA COFFEE: "Everybody calls me Gracie" | CINEMA COFFEE: "What the devil are Belinskis?!" | CINEMA COFFEE: "Hello friends and enemies." | CINEMA COFFEE: "Stop remindin' me of heaven." | CINEMA COFFEE: "Even Gatsby could happen" | CINEMA COFFEE: "I made a wish" | CINEMA COFFEE: Audie Murphy | CINEMA COFFEE: Put The Blame on Mame | CINEMA COFFEE: "Just Singleton." | CINEMA COFFEE: "Where I Come From, Nobody Knows" | Film Therapy: Coping through Cinema | CINEMA COFFEE: Socks fall down | CINEMA COFFEE: "The moon's reaching for me" | CINEMA COFFEE: The Horne: Luso World Cinema Blogathon | CINEMA COFFEE: Aunt Bettye Lightsy | CINEMA COFFEE: I never lose | CINEMA COFFEE: "I have a mother!" | CINEMA COFFEE: THE SIGN OF GEMINI | CINEMA COFFEE: Venus Rising | CINEMA COFFEE: Stan vs Geek | CINEMA COFFEE: "Positively the same dame"