Terse townspeople, a curt introduction, a missing person, and a handsome, massive, but empty estate: so begins 'Jennifer.' I appreciate how the movie works quickly to build an uneasy atmosphere, with good use of light and shadow in the sprawling manor, sound effects, and Ernest Gold's dramatic score to spark our imagination. A movie of such a slight length must necessarily either maintain a quick pace to communicate all its plot, or be light on plot in the first place. In this instance, I think it's a bit of both.
Whether it's fast dialogue or a rapid progression and succession of scenes, protagonist Agnes is kept on edge as a lot of ideas are thrown her way or otherwise enter her mind. This also serves to keep the audience engaged - partly by its very nature, but also partly because the scenario as it presents to us is more than a little ham-handed, and one must actively maintain their suspension of disbelief. There's extraordinary focus from Agnes and around town on missing Jennifer after she enters the Gale House, and more than a few details in the house that catch Agnes' attention and make her nervous seem terribly innocuous - in both instances, more than is realistically sensible. As the character of Jim Hollis remarks at one point - "When you jump to a conclusion, you really leap!" It's a lot to take in, and for much of the runtime one teeters on the precipice of "Okay, but where is this going?" - not least of all as there seems to be little actual narrative advancement.
Joel Newton's direction broadly doesn't seem particularly noteworthy, though he does arrange some fine shots and scenes. The cast's performances, likewise, are suitable - though only star Ida Lupino stands out at all, demonstrating her superb range and nuance, and ability to wholly inhabit a character. Honestly, 'Jennifer' as a whole is much the same - kind of unremarkable, but with some bright spots. This is especially true as the feature seems to hold the bulk of its plot in reserve until the last 5-10 minutes. For all the scattered ideas that dot the previous hour, in all that time the story just doesn't feel like it's going anywhere.
That sense is rather unfortunate, as it turns out that all the while, the screenplay was (to mixed degrees of success) laying the groundwork for the finale. The plot development is still unquestionably thin, but it seems modestly more sensible in light of where 'Jennifer' finishes. Those scattered ideas that populate most of the film are either deliberate red herrings, or very underhandedly dropped hints as to the ending and actual explanation for the course of events. But all these notions, and even the conclusion itself, are not written or realized very cohesively. As opposed to the typical "trail of breadcrumbs," this is more like a handful of breadcrumbs tossed at random in an area - some are meaningful, some aren't. I do appreciate how furtive the ending is in its reveal, declining the forceful epiphany adopted in most modern flicks of a similar tenor in favor of an approach so emphatically understated as to be almost dismissive. Any viewer who isn't tuned in to that specific low-key frequency of revelation may well think the movie ended without any resolution at all. All the same, my admiration to that point is lessened by the insufficient care for storytelling that preceded it.
On the balance I did enjoy this, and I'd even give it as a modest recommendation to anyone looking for a picture built on mystery. I just wish it were more solid all around - provide more for the supporting cast to do; tighten the narrative. It's definitely flawed, but I like it more than not, and I think 'Jennifer' is worth a watch if you happen to come across it.
Whether it's fast dialogue or a rapid progression and succession of scenes, protagonist Agnes is kept on edge as a lot of ideas are thrown her way or otherwise enter her mind. This also serves to keep the audience engaged - partly by its very nature, but also partly because the scenario as it presents to us is more than a little ham-handed, and one must actively maintain their suspension of disbelief. There's extraordinary focus from Agnes and around town on missing Jennifer after she enters the Gale House, and more than a few details in the house that catch Agnes' attention and make her nervous seem terribly innocuous - in both instances, more than is realistically sensible. As the character of Jim Hollis remarks at one point - "When you jump to a conclusion, you really leap!" It's a lot to take in, and for much of the runtime one teeters on the precipice of "Okay, but where is this going?" - not least of all as there seems to be little actual narrative advancement.
Joel Newton's direction broadly doesn't seem particularly noteworthy, though he does arrange some fine shots and scenes. The cast's performances, likewise, are suitable - though only star Ida Lupino stands out at all, demonstrating her superb range and nuance, and ability to wholly inhabit a character. Honestly, 'Jennifer' as a whole is much the same - kind of unremarkable, but with some bright spots. This is especially true as the feature seems to hold the bulk of its plot in reserve until the last 5-10 minutes. For all the scattered ideas that dot the previous hour, in all that time the story just doesn't feel like it's going anywhere.
That sense is rather unfortunate, as it turns out that all the while, the screenplay was (to mixed degrees of success) laying the groundwork for the finale. The plot development is still unquestionably thin, but it seems modestly more sensible in light of where 'Jennifer' finishes. Those scattered ideas that populate most of the film are either deliberate red herrings, or very underhandedly dropped hints as to the ending and actual explanation for the course of events. But all these notions, and even the conclusion itself, are not written or realized very cohesively. As opposed to the typical "trail of breadcrumbs," this is more like a handful of breadcrumbs tossed at random in an area - some are meaningful, some aren't. I do appreciate how furtive the ending is in its reveal, declining the forceful epiphany adopted in most modern flicks of a similar tenor in favor of an approach so emphatically understated as to be almost dismissive. Any viewer who isn't tuned in to that specific low-key frequency of revelation may well think the movie ended without any resolution at all. All the same, my admiration to that point is lessened by the insufficient care for storytelling that preceded it.
On the balance I did enjoy this, and I'd even give it as a modest recommendation to anyone looking for a picture built on mystery. I just wish it were more solid all around - provide more for the supporting cast to do; tighten the narrative. It's definitely flawed, but I like it more than not, and I think 'Jennifer' is worth a watch if you happen to come across it.