JENNY (1970)

Title: JENNY

Year of Release: 1970

Director: George Bloomfield

Genre: Drama, Romance

Synopsis: A young woman is left pregnant by a man, and befriends a sullen photographer, who agrees to be the father of her child.

Within a film history context: Movies revolving around an unwed mother have been in existence since the silent era. One of the first documented in this vein was Emile Chautard's MAGDA (1917). When a young woman from a small town goes to the city, she marries and has a child with a man. What she discovers is that the marriage was a hoax, and consequently leaves her to support a child. Her downfall begins here, as she drifts into unsuitable employment, and a number of other issues resurface. With IT (1927), directed by Clarence Badger, matters were of another persuasion. A perky department store salesgirl seeks to assist her roommate in a time of need, but this lie causes issues in her private life she never envisioned. Into the sound period, Frank Capra's FORBIDDEN (1932), was about a young woman who meets a man on a cruise, and subsequently falls pregnant to him, but is unaware that he is already married. In A FAREWELL TO ARMS (1932), directed by Frank Borzage, an ambulance driver and a nurse in World War I Italy fall in love, and she falls pregnant. Despite resolving to be together, a number of misunderstandings ensue, building to a tragic end to their affair. Alexander Hall and George Somnes' TORCH SINGER (1933), diverted from others in terms of its story. A woman who has had a child out of wedlock gives it up for adoption, but becomes a torch singer with a questionable way of life in this drama. 

ANN VICKERS (1933), directed by John Cromwell, had the distinction of its main character, a social worker, falling pregnant twice out of wedlock to two different men, finding a measure of happiness the second time around. John Stahl's ONLY YESTERDAY (1933), begins during World War I, when a young woman has an affair with a man, who is slated to fight in the war. When they meet again many years later, he does not remember her, and has a son in tow. DOCTOR MONICA (1934), directed by William Keighley, centered around a female obstetrician, who finds out the hard way that her husband had an affair with another woman, as she delivers the baby of his mistress. In Mitchell Leisen's TO EACH HIS OWN (1946), a young woman in American during World War I has a baby to a pilot, and gives up the illegitimate child for adoption. She watches his life unfold from a distance, but finds out that second chances in life do exist. On the other hand, SIN OF ESTHER WATERS (1948), directed by Ian Dalrymple and Peter Proud, had a young woman in 1870s London fall pregnant to a faithless man, forced to raise the child on her own. 

Mitchell Leisen's NO MAN OF HER OWN (1950), starred Barbara Stanwyck as a woman who befriends two people on a train, who eventually die, and assumes the identity of the wife. She is welcomed into the family, but her former lover blackmails her over her deceit, with which she was uncomfortable anyway, leading to a surprising ending. UNWED MOTHER (1958), directed by Walter Doniger, the title of which left no doubt as to the status of its main character. When a young woman from a farm goes to Los Angeles, she is loved and left pregnant by a Lothario, and has the baby. Giving up the child for adoption, she rues the day she made this decision in this drama. Richard Quine's THE WORLD OF SUZIE WONG (1960), featured a young Chinese prostitute who had a child out of wedlock, and was involved with an American architect in this drama. In contrast, the unmarried mother in THE SANDPIPER (1965), directed by Vincente Minnelli, was an artist who lived with her young son at Big Sur, and had an affair with a married reverend, the headmaster of her son's school. JENNY arrived onscreen in 1970, and gave the unwed mother theme its own spin.

The earlier examples of an unwed woman falling pregnant often precipitate the moral downfall of the said character, such as in MAGDA, TORCH SINGER, and ANN VICKERS. The woman either starts drifting into unsuitable employment, or from man to man, as in ANN VICKERS. They are not depicted as being promiscuous, more misguided, just that fate has dealt them an unlucky hand. In many instances, the woman raises her child alone, as in MAGDA, FORBIDDEN, ANN VICKERS, ONLY YESTERDAY, SIN OF ESTHER WATERS, THE WORLD OF SUZIE WONG, and THE SANDPIPER. In some of the movies, the woman gives up the baby for adoption, as in TORCH SINGER, TO EACH HIS OWN, and UNWED MOTHER. A FAREWELL TO ARMS stands out as the only entry where the baby dies. DOCTOR MONICA also diverts as the central character has not given birth to an illegitimate baby, but is delivering one for another woman, being her husband's mistress. JENNY belongs to the group of pictures where a man impregnates the woman, and their affair is a mistake, with him leaving her in the lurch. MAGDA, FORBIDDEN, ANN VICKERS, SIN OF ESTHER WATERS, and UNWED MOTHER are prime examples here. 

JENNY is the only picture where a man, not the father of the child, marries the pregnant woman to give her child a parent. Delano in JENNY, though, if of the disloyal male character mold as evidenced by the prior samples such as MAGDA, and SIN OF ESTHER WATERS. Where JENNY again moves away is that the difficulties of compatibility between Jenny, and Delano, make way for real love over time, and this is cemented by the birth of their child. This is unlike the many movies of women who stay single as a mother, or watch their child from afar, as in TO EACH HIS OWN. It adds a positive touch to the trials and travails of the unwed mother, advancing from the sadder portrayals of women whose lives are forever marked by what happened in their lives, to something more life-affirming. In addition, JENNY's leaning towards romance provides it with an ethereal feel that the other narratives, with moral considerations, could not offer. A more modern version of the hardships of an unwed mother, JENNY asks viewers to consider another perspective on this theme. 

Overview: George Bloomfield was a Canadian director who presided over ten motion pictures in a twenty-nine year period. He made dramas, thrillers, family fare, and also ventured into comedy in his output. Mr Bloomfield's second movie, TO KILL A CLOWN (1972), was an unconventional thriller about a couple holidaying on the beach, and how their encounter with a Vietnam veteran changes them forever. CHILD UNDER A LEAF (1974), had a similar, if divergent premise. A woman trapped in an abusive marriage has an extramarital affair, giving birth to her lover's child, but tries to move away from her egotistical husband. NOTHING PERSONAL (1980), was a comedy of an activist professor concerned about the plight of baby seals, and how he is assisted in his mission by a lawyer. Critically roasted in its time, it has sunken into oblivion. Thriller DOUBLE NEGATIVE (1980), showcased a man whose wife was murdered, and how he tries to find her killer, and exactly what happened that fateful night. THE ARGON QUEST (1992), was a family movie with two brothers transported to a magical island, the only way to save it is by finding the giant Argon. JACOB TWO TWO MEETS THE HOODED FANG (1999), was another family picture. A young boy who likes to mention things in twos, goes shopping one day, but is misunderstood by the grocer, subsequently landing in a children's prison. Some friends in the prison assist him, and plan to escape from there in this fantasy movie. JENNY was George Bloomfield's film debut, and a good, if uneven, first movie.

With JENNY, George Bloomfield has crafted a subtle story of a pregnant, unwed young woman who meets a filmmaker whom she eventually marries. The movie ably charts their blossoming relationship through all the obstacles which come their way in light of their decision to wed, and for the photographer to take on the role of husband, and father, to a child which is not his own. It is a film which has an assured pace, and delicately examines its lead characters' feelings about their situation. There is no doubt as to the sincerity of the director in focusing upon the plight of an unwed mother in his picture, and this is one of its best qualities. This is a topic which has been featured in cinema over all time, and here the director adds his own interpretation to this issue. 

Where the movie lacks punch is that sometimes the pace is too slow and languorous, the conflict being too distant in regularity to have an impact. There is a concentration of romantic scenes which suits the material, but the aura of dreaminess does have the tendency to outweigh the more dramatic stretches. If JENNY had extra segments of antagonism between its characters, it would seem even more real as a product. As it is, the film is a little topsy turvy in balancing drama with romance. Nevertheless, in the final analysis, certain things can be said about JENNY as a motion picture. It is a pleasant movie from George Bloomfield that needed some tinkering, but whose overall honesty in what it says about people, and life, is commendable.

Acting: There are two performances which give life to JENNY. In the lead role of Jenny, Marlo Thomas is thoroughly believable as a young woman who has made mistakes in life, and tries in her own way to rectify these. With her warmth, openness, and ability to share her feelings with the audience, Miss Thomas is excellent. As Delano, the photographer who Jenny marries, their relationship not all smooth sailing, Alan Alda is well matched with Marlo Thomas. Although he is usually the good-humored leading man, here Mr Alda takes a dive into darker, more multi-faceted territory, which shows how versatile an actor he is. 

Soundtrack: Michael Small's attractive musical score suits the solemn, leisurely-paced material, always subtle, but never overbearing. It adds a certain flair and grace to scenes, one of the best examples being the scene where Jenny and Delano race merrily around the park.

Mise-en-scene: JENNY has a very good handle on its visuals, thanks to the work of several key personnel. The Deluxe cinematography by David Quaid is lush, and exceedingly easy on the eyes without being garish. It makes everything appear as if it was from a carefully-composed painting which has been turned into a film. Trevor Williams' art direction, and set decoration by Alan Hicks, create an agreeable world of beautiful parks, inviting rooms, and pretty streetscapes. Two key examples stand out in this respect. The home of Jenny's parents is elegant without being overdone, and the apartment which Jenny and Delano share is slightly bohemian, but feels as if real people would indeed inhabit this abode.

Notable Acting Performances: Marlo Thomas, Alan Alda.

Suitability for young viewers: Parental discretion advised. Adult themes.

Overall Grade: C

Link: IMDB Page