gavin6942 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.The film is notable for Joseph H. August's atmospheric cinematography, capturing the lead character's obsession with Jennie, amongst the environs of a wintry New York. August shot many of the scenes through a canvas, making the scenes look like actual paintings. August, who used many lenses from silent film days, died shortly after completing the film. He was posthumously nominated for an Academy Award for Best Cinematography.The film does mark a milestone in fantasy film, which really didn't much exist in the earlier years so far as I can recall. The cinematography really does set it apart. The scenes where the background looks like canvas is just a brilliant idea, and has us questioning what is real and what is just a creation. Indeed, even by adding an opening narration, we are left with the impression that this is intended as a story (creation) rather than anything that could be considered reality.

Antonius Block There is an element of magic to this story, which has a struggling artist (Joseph Cotten) meeting a young girl (Jennifer Jones) in the park by chance one day. It's soon apparent that there is something different about this girl, as she mentions things from decades ago as if they were current, and ages a little each time he subsequently meets her. A romance begins to develop, fueled by artistic inspiration she gives him, as well as mystery – is she a ghost? A muse? Someone only he can see? Meanwhile, tragedy lurks.The film is gorgeous, with beautiful shots of winter in New York City, and artistic effects such as those created by spreading canvas over the camera lens. The performances are reasonably good, and it was fantastic to see Ethel Barrymore and Lillian Gish in supporting roles. There is a dreamy feel to it, as well as philosophical message of the timelessness of art and love. It's intellectual, opening with deep thoughts ("Since time began man has looked into the awesome reaches of infinity and asked the eternal question: What is time? What is life? What is space? What is death?"), quotes from Euripides and Keats, and other profundity ("This was tomorrow once…"). It's also quite romantic ("I know we were meant to be together. The strands of our lives are woven together and neither the world nor time can tear them apart"), and it may be too syrupy or cheesy for some viewers. I have to say that Director William Dieterle does lay it on pretty thick towards the end – but all in all, with aesthetic elements that touch the head and heart, I found it entertaining.

utgard14 Struggling artist Eben Adams (Joseph Cotten) meets a little girl named Jennie (Jennifer Jones) in the park. The clothes she's wearing and the things she talks about would seem to indicate she is from a different decade than Eben, yet he thinks nothing about it until later. He meets her several more times and each time she is older. Gradually the two fall in love and Eben paints her portrait, which is praised by his art dealer friend (Ethel Barrymore). But Jennie's disappearances worry Eben enough that he starts to investigate and finds that Jennie actually died years before he met her.Enchanting romantic fantasy with another winning performance from Joseph Cotten. Jennifer Jones, more lispy than usual, is OK but nothing exceptional. Ethel Barrymore heads a wonderful supporting cast that includes Lillian Gish, Cecil Kellaway, and David Wayne. Look fast for the distinct voice of Henry Hull in a bit part. Lovely production and good score. The final scenes are in tinted color. Very nice movie, marred slightly by an ending that won't please everybody.

lasttimeisaw A destitute artist meets his muse, but is she whether a time-traveler from the past, a ghost image deceased long ago, or simply his imaginary fair tale? PORTRAIT OF JENNIE is a romantic fantasy (adapted from Robert Nathan's novel) from the less acclaimed Germany-born director William Dieterle, starring Dieterle's longtime troupers Cotten and Jones. It's an ambivalent mystique, the film candidly steers clear of rendering elucidation of Jennie (Jones), we viewers gain our vicarious affections towards her through Eben's (Cotten) blind commitment and crazed conviction. Jones comes off wonderfully through the transition from a teenage schoolgirl to a fair lady, the voice transformation is vividly convincing, also thanks to the nocturnal environment and clever lightning. During her episodic appearances in signposting Eben's track of life, Jones incarnates herself as a genuinely cordial ingénue, the inspiration to light up Eden's pedestrian lot, while maintaining a shade of intended coyness about her whimsical conducts to push the storyline ride on its well-premeditated trajectory (as we are multiply and passively persuaded that the ominous lighthouse will be the elephant-in-the-room concerning Jennie's whereabout eventually), with Cotten endearingly plays along, quite an aberrant and wayward scheme entirely contingent on viewers' grades of naivety, perhaps that's why it hasn't interfaced with modern audiences too well. Nevertheless, one can rejoice in tons of merits from this film, a poignant catharsis during a striking tidal wave, impressive special effects at its time (under the backing of green tint technique), the singular textured field on a painting canvas when introducing different chapters is a rare endeavor, and well in tune with its dainty artistry. Great chemistry between Cotten and Jones, the ultimate romance Hollywood never ceases to propagandize; the ever-refined Barrymore is a wonderful delight whenever she appears, brings fine touch to the flimsy plot with Kellaway and Wayne, plus a riddle-breaker supporting role from Lillian Gish, (admittedly it is my very first Gish film, and beckons for a welcome start) and a cameo near the end with a young Nancy Reagan (in the only Technicolor shot). PORTRAIT OF JENNIE is a charming, feel good picture one can easily resort to repeated viewings, and preferably in a renovated BluRay platform where it truly deserves to display.