The story of love that transcends time and space is always an enticing and haunting premise. Such is the story of Eben (Joseph Cotten), a New England artist who has come to New York City in 1937 to try to eke out a living. Along the way, he is befriended by Gus (David Wayne), a stage-Irish cabdriver, who is always delivering sage advice, as per what his "dear old Mother" used to say. Eben takes up residence in a boarding house run by Mrs. Jekes (Florence Bates), paying delinquent rents to her via any artwork that may suit her fancy. One cold day in Central Park, Eben sees a pretty young girl dressed modishly, albeit out of fashion for the time, playing alone. Her name is Jennie (Jennifer Jones), and the two strike up a friendship. She reveals her parents do an acrobatic act at the old Hammerstein Theatre, and mentions the Kaiser. But Eben corrects her - the War was over years ago, and the Kaiser is gone. However, this isn't so in Jennie's world. She asks Eben to wait for her; she will come back to him. As time goes by, Jennie returns in different stages of adolescence, and eventually blossoms into a beautiful young woman. Eben paints her portrait, and brings it over to the small gallery run by Ethel Barrymore and Cecil Kellaway. Miss Barrymore is much taken by it, and purchases it from him. It is far superior than others he has brought her. Jennie's background is revealed in vignettes at the convent where she had been schooled, and by those who knew of her parents' tragic deaths at the long-demised Hammerstein Theatre. The tragic conclusion takes place at the New England lighthouse, where Jennie has promised to meet Eben for the last time. The film then transitions into an ominous inky green color, from the delicate black and white, highlighting the storm, and roiling sea. The cinematography, especially the New York exteriors, which were filmed through special filters replicating the texture of oil paintings, was ethereal - absolutely capturing the dreamlike mood.
But, as a reader of the original book by Robert Nathan, there are certain changes I didn't appreciate. For instance, the writers made it very convenient for Jennie to have gone to New England over the years, and rowed out to the lighthouse. In the book, Jennie has been lost at sea long before - washed overboard on the voyage home from Europe with her aunt. The Mrs. Jekes character was softened here; much more venomous in the book, and disapproving of Jennie, whom she literally scared away. Gus, the cabdriver, was an American Jewish character who actually got to meet Jennie when he took her and Eben on a picnic. Some things were compromised in the wash, and may have made a stronger story. But in its favor, the Debussy music compliments the mysterious flavor of this piece, and the acting (even in Jennifer Jones' case), added to the tone of a different sort of love story, and one worth viewing.
But, as a reader of the original book by Robert Nathan, there are certain changes I didn't appreciate. For instance, the writers made it very convenient for Jennie to have gone to New England over the years, and rowed out to the lighthouse. In the book, Jennie has been lost at sea long before - washed overboard on the voyage home from Europe with her aunt. The Mrs. Jekes character was softened here; much more venomous in the book, and disapproving of Jennie, whom she literally scared away. Gus, the cabdriver, was an American Jewish character who actually got to meet Jennie when he took her and Eben on a picnic. Some things were compromised in the wash, and may have made a stronger story. But in its favor, the Debussy music compliments the mysterious flavor of this piece, and the acting (even in Jennifer Jones' case), added to the tone of a different sort of love story, and one worth viewing.