Title: JENNIFER ON MY MIND
Year of Release: 1971
Director: Noel Black
Genre: Drama, Romance
Synopsis: Marcus, a young man from New York City falls in love with a young woman, Jenny from New Jersey, while they are both in Venice, and follows her back to the US, their love story ending in tragedy.
Within a film history context: Drug addiction, and its attendant consequences, have been explored many times over the course of film history. One of the first to deal with the issue was D.W. Griffith's FOR HIS SON (1912) which charts a man who develops a drug-laced drink for financial gain, until his son becomes addicted to the narcotic, and passes away. A moral tale for the times, it was one of several dealing with the issue during the silent period. THE SECRET SIN (1915), directed by Frank Reicher, featured Blanche Sweet in a dual role as twin sisters, one of whom becomes addicted to drugs. Further films during the silent screen examined the effect of drugs on lives in an intensive fashion.
1917's LOVE OR JUSTICE, directed by Walter Edwards, revolved around an lawyer who becomes hooked on drugs, this hampering his professional life to no end. One of the most notable films about the evils of drugs was HUMAN WRECKAGE (1923), co-directed by John Griffith Wray and Dorothy Davenport. This was a very personal project for actress Dorothy Davenport as her husband, silent screen star Wallace Reid, had succumbed to drug addiction in a sanatorium in 1923. Miss Davenport from herein devoted her life to the awareness of drugs, and the destructive effect they have on the life not only of the addict but also, their families. Passing from the silent into the sound era, the 1930s brought forth interesting depictions of drug addiction to the screen.
Mervyn LeRoy's THREE ON A MATCH (1932), starring Joan Blondell, was the cautionary tale of a young woman who falls into a promiscuous lifestyle and drug taking. THE MASQUERADER (1933), directed by Richard Wallace, starred Ronald Colman as a politician hooked on drugs. One of the most notorious anti-drug movies was 1936's REEFER MADNESS, with good-time teenagers holding wild parties and smoking marijuana.
Moving into the 1950s, Otto Preminger's THE MAN WITH THE GOLDEN ARM was notable for its realism at the time, with a junkie's life turned upside down not only by his addiction but also, gambling. A HATFUL OF RAIN (1957), directed by Fred Zinnemann, was another film of a similar nature, with a Korean War veteran battling morphine addiction. Traversing into the 1960s, one of the most popular films to deal with drug addiction, in a more sensational manner, was Mark Robson's VALLEY OF THE DOLLS (1967). A huge success at the time, adapted from Jacqueline Susann's blockbuster novel, it dealt with the effects of drugs, the 'dolls' of the title, on two of the main characters. More a romance in intention than an examination of drug addiction, nevertheless, it treated its drug theme in a less serious manner than the other movies.
In comparison to the previous eras, the 1970s tackled the issue of drug addiction in a more vigorous, explicit way than that had thus been presented to audiences, the breakdown of censorship a major player in this movement. THE PANIC IN NEEDLE PARK (1971), helmed by Jerry Schatzberg, was a revealing examination of several heroin addicts in New York City, complete with scenes of injections. Floyd Mutrux's DUSTY AND SWEETS MCGEE (1971) spotlighted a couple who use drugs, with disastrous results. BORN TO WIN, directed by Ivan Passer, was another entry from 1971, with George Segal as an addict who not only turns his life upside down but also, does likewise with other people such as his girlfriend. JENNIFER ON MY MIND, as a film dealing with drug addiction, differs from these films in several major ways.
While these movies were generally realistic in their approach to this social problem, JENNIFER ON MY MIND was decidedly a black comedy in its intention, not wishing to provide a genuine depiction of drug addiction. It was an uneasy mix of black comedy, drama and romance, highly unlike the other films which largely possessed continuity and depth. Notable for its lack of success in almost every department, JENNIFER ON MY MIND will most likely be remembered as a failed experiment that could have been so much better than the final product audiences viewed at its release.
Within a film history context: Drug addiction, and its attendant consequences, have been explored many times over the course of film history. One of the first to deal with the issue was D.W. Griffith's FOR HIS SON (1912) which charts a man who develops a drug-laced drink for financial gain, until his son becomes addicted to the narcotic, and passes away. A moral tale for the times, it was one of several dealing with the issue during the silent period. THE SECRET SIN (1915), directed by Frank Reicher, featured Blanche Sweet in a dual role as twin sisters, one of whom becomes addicted to drugs. Further films during the silent screen examined the effect of drugs on lives in an intensive fashion.
1917's LOVE OR JUSTICE, directed by Walter Edwards, revolved around an lawyer who becomes hooked on drugs, this hampering his professional life to no end. One of the most notable films about the evils of drugs was HUMAN WRECKAGE (1923), co-directed by John Griffith Wray and Dorothy Davenport. This was a very personal project for actress Dorothy Davenport as her husband, silent screen star Wallace Reid, had succumbed to drug addiction in a sanatorium in 1923. Miss Davenport from herein devoted her life to the awareness of drugs, and the destructive effect they have on the life not only of the addict but also, their families. Passing from the silent into the sound era, the 1930s brought forth interesting depictions of drug addiction to the screen.
Mervyn LeRoy's THREE ON A MATCH (1932), starring Joan Blondell, was the cautionary tale of a young woman who falls into a promiscuous lifestyle and drug taking. THE MASQUERADER (1933), directed by Richard Wallace, starred Ronald Colman as a politician hooked on drugs. One of the most notorious anti-drug movies was 1936's REEFER MADNESS, with good-time teenagers holding wild parties and smoking marijuana.
Moving into the 1950s, Otto Preminger's THE MAN WITH THE GOLDEN ARM was notable for its realism at the time, with a junkie's life turned upside down not only by his addiction but also, gambling. A HATFUL OF RAIN (1957), directed by Fred Zinnemann, was another film of a similar nature, with a Korean War veteran battling morphine addiction. Traversing into the 1960s, one of the most popular films to deal with drug addiction, in a more sensational manner, was Mark Robson's VALLEY OF THE DOLLS (1967). A huge success at the time, adapted from Jacqueline Susann's blockbuster novel, it dealt with the effects of drugs, the 'dolls' of the title, on two of the main characters. More a romance in intention than an examination of drug addiction, nevertheless, it treated its drug theme in a less serious manner than the other movies.
In comparison to the previous eras, the 1970s tackled the issue of drug addiction in a more vigorous, explicit way than that had thus been presented to audiences, the breakdown of censorship a major player in this movement. THE PANIC IN NEEDLE PARK (1971), helmed by Jerry Schatzberg, was a revealing examination of several heroin addicts in New York City, complete with scenes of injections. Floyd Mutrux's DUSTY AND SWEETS MCGEE (1971) spotlighted a couple who use drugs, with disastrous results. BORN TO WIN, directed by Ivan Passer, was another entry from 1971, with George Segal as an addict who not only turns his life upside down but also, does likewise with other people such as his girlfriend. JENNIFER ON MY MIND, as a film dealing with drug addiction, differs from these films in several major ways.
While these movies were generally realistic in their approach to this social problem, JENNIFER ON MY MIND was decidedly a black comedy in its intention, not wishing to provide a genuine depiction of drug addiction. It was an uneasy mix of black comedy, drama and romance, highly unlike the other films which largely possessed continuity and depth. Notable for its lack of success in almost every department, JENNIFER ON MY MIND will most likely be remembered as a failed experiment that could have been so much better than the final product audiences viewed at its release.
Overview: During his cinematic career, Noel Black guided seven motion pictures, ranging from black comedy to comedy, sex comedies to thrillers. Beginning with black comedy PRETTY POISON in 1968, Mr Black also directed such films as the distinctive COVER ME BABE (1970), thriller MIRRORS (1978), and sex comedy PRIVATE SCHOOL (1983), his final movie. JENNIFER ON MY MIND was his third cinematic outing, but, unfortunately, not one of his best efforts.
The movie was adapted to the screen by Erich Segal from a novel written by author Roger L. Simon in 1968. For Mr Segal, the scribe behind LOVE STORY, the super-hit from 1970, in the case of JENNIFER ON MY MIND, lightning did not strike twice. The film version of JENNIFER ON MY MIND is largely a tasteless, strange exploration of the relationship between a young man and woman which is wrecked by drug addiction. What might have seemed off-the-wall, and of the times on paper does not work as well on screen. The black comedy elements of the plot fall flat in a major manner, due to their lurid nature. While the backwards and forwards flashback nature of the plot depicting the relationship is satisfactory, what hampers the film is its overall silliness.
Unlike Mr Black's other movies, JENNIFER ON MY MIND seems to exist in a world where no rules of the universe apply to the characters. There is little, if hardly any, cause and effect in the movie. Events just occur, but they do not lead to anything major, with the exception of the final scenes between Marcus and Jenny. While many 1970s movies were non-traditional in their narratives, there was a semblance of logic to these movies, but coherence is not in evidence in JENNIFER ON MY MIND. What would have made the film infinitely better is if it followed a more mainstream approach in its storytelling than the highly unsatisfactory route that it took.
If JENNIFER ON MY MIND depicted the central relationship in more realistic terms, such as the lead character eventually finding out Jenny was on drugs in a spare manner, it would have been much more suspenseful than what panned out on screen. If Marcus was also written as himself being not involved in drugs, there would have been further sympathy for his plight. This could have been a highly moving, intelligent film if its idiosyncrasies were reined in, and the sensational aspects removed. Having the body in the piano, or in the swing chair, for example, did not assist its cause. These aspects by and large rule out, and overshadow, the final scenes between Marcus and Jenny which are powerful, and the best part of the film. One of the least satisfactory films of the 1970s, and from Noel Black, JENNIFER ON MY MIND left me with the sad impression of opportunities lost, and a director not in the best form that he possibly could have been.
The movie was adapted to the screen by Erich Segal from a novel written by author Roger L. Simon in 1968. For Mr Segal, the scribe behind LOVE STORY, the super-hit from 1970, in the case of JENNIFER ON MY MIND, lightning did not strike twice. The film version of JENNIFER ON MY MIND is largely a tasteless, strange exploration of the relationship between a young man and woman which is wrecked by drug addiction. What might have seemed off-the-wall, and of the times on paper does not work as well on screen. The black comedy elements of the plot fall flat in a major manner, due to their lurid nature. While the backwards and forwards flashback nature of the plot depicting the relationship is satisfactory, what hampers the film is its overall silliness.
Unlike Mr Black's other movies, JENNIFER ON MY MIND seems to exist in a world where no rules of the universe apply to the characters. There is little, if hardly any, cause and effect in the movie. Events just occur, but they do not lead to anything major, with the exception of the final scenes between Marcus and Jenny. While many 1970s movies were non-traditional in their narratives, there was a semblance of logic to these movies, but coherence is not in evidence in JENNIFER ON MY MIND. What would have made the film infinitely better is if it followed a more mainstream approach in its storytelling than the highly unsatisfactory route that it took.
If JENNIFER ON MY MIND depicted the central relationship in more realistic terms, such as the lead character eventually finding out Jenny was on drugs in a spare manner, it would have been much more suspenseful than what panned out on screen. If Marcus was also written as himself being not involved in drugs, there would have been further sympathy for his plight. This could have been a highly moving, intelligent film if its idiosyncrasies were reined in, and the sensational aspects removed. Having the body in the piano, or in the swing chair, for example, did not assist its cause. These aspects by and large rule out, and overshadow, the final scenes between Marcus and Jenny which are powerful, and the best part of the film. One of the least satisfactory films of the 1970s, and from Noel Black, JENNIFER ON MY MIND left me with the sad impression of opportunities lost, and a director not in the best form that he possibly could have been.
Acting: This is a film where the spectacle, and bizarreness of the plot take precedence over the performances, but, in one instance, there is a notable acting contribution in the movie. Michael Brandon deserves praise for holding JENNIFER ON MY MIND together, his acting making the unbelievable palatable; without him, the film would have been even lesser of an effort than it was. While his co-star, Tippy Walker, does a sound job overall in the film, her best moments arrive at the end of her screen time. The film largely portrays her as being distant and inaccessible, which is unfortunate. Once the scenes where she proves how good she is an actress occur, it is too late for the film as a whole. Other actors also fall to the same fate in the movie, with lost chances for great acting missed.
Renee Taylor, as Michael Brandon's sister, is totally wasted in a tiny role. After seeing Miss Taylor in MADE FOR EACH OTHER, is it obvious that she is a great actress, but she is not used properly to create the suspense that should have been present. While Robert De Niro's role as a gypsy taxi driver is amusing, again, it is another performer not used to best effect. Both of these examples are symptomatic of the film as a whole; if the plot was more credible, the entire cast could have performed in a much more passionate manner, and the film would have been better overall.
Renee Taylor, as Michael Brandon's sister, is totally wasted in a tiny role. After seeing Miss Taylor in MADE FOR EACH OTHER, is it obvious that she is a great actress, but she is not used properly to create the suspense that should have been present. While Robert De Niro's role as a gypsy taxi driver is amusing, again, it is another performer not used to best effect. Both of these examples are symptomatic of the film as a whole; if the plot was more credible, the entire cast could have performed in a much more passionate manner, and the film would have been better overall.
Soundtrack: JENNIFER ON MY MIND has a pleasant, thoughtful 1970s soundtrack which, especially, complements the romantic scenes between Marcus and Jennifer. In a roundabout manner, the soundtrack is also suitable for the incongruous opening titles, though, which chart the journey of Marcus' ancestors to a new home in the US from abroad.
Mise-en-scene: JENNIFER ON MY MIND is efficient in its use of scenery and indoor sets. Variously shot in Venice, New York City and New Jersey, it features outdoor location scenery that is beautifully filmed. The scenes in Venice where Michael Brandon courts Tippy Walker, and at her family estate, particularly the swimming pool sequences, are well done, adding atmosphere to the film. The apartment that Marcus shares with Jenny is a typical 1970s abode with furniture of the era, but is thankfully devoid of red or dark hues which can appear as garish onscreen, preferring neutral tones.
The opening credits sequence, though, is one of the oddest segments of JENNIFER ON MY MIND. Featuring the history of the characters used to inform the audience of their background is a strange choice, and considering that the film tried to posit itself as both a romance and exploration of drug addiction, inappropriate for the film. A better introduction would have been a montage featuring the film's characters in scenes or images with the credits overlaid, making it less like a non-fiction documentary, and more the film it was.
Award-worthy performances in my opinion: Michael Brandon.
The opening credits sequence, though, is one of the oddest segments of JENNIFER ON MY MIND. Featuring the history of the characters used to inform the audience of their background is a strange choice, and considering that the film tried to posit itself as both a romance and exploration of drug addiction, inappropriate for the film. A better introduction would have been a montage featuring the film's characters in scenes or images with the credits overlaid, making it less like a non-fiction documentary, and more the film it was.
Award-worthy performances in my opinion: Michael Brandon.
Suitability for young viewers: No. Adult themes, drug use.
Overall Grade: D
Link: IMDB Page
Movie Excerpt
