Jennifer

In 1955 I took an entrance exam at Cambridge University, staying by myself in one of the old stone college buildings. One evening I went out to see a movie, which happened to be Jennifer. It's a classic creepy old house movie. Jennifer arrives to take over from the previous caretaker, who has mysteriously disappeared. She runs into a whole gamut of strange clues and spooky effects, pitched so you - and she -can't be sure if they are real or she's imagining them. Music and optical shock are used to great effect, with all the power that skillfully lit monochrome cinematography can deliver (considerable!!). At the end, she is reassured that it was all in her mind, and she's safe... till the very last shot, which opens up all the questions again, and still raises the hairs on my neck when I think of it. Going back to my room, I had to pass through a long set of dark cloisters - nearly didn't make it!! At least that's how it seemed back then. It would be great if the film were re-released on DVD, to see if its power persists today.

It has been almost 50 years since I saw "Jennifer" for the first and only time. I did not know the name of this movie until I looked it up on this web site, but I have told many people (especially my grandchildren) how movies do not have to include graphic details in order to frighten you and leave powerful impact. The story skillfully introduces you to concepts which if true put Ida Lupino in a very dangerous situation. Each time Miss Lupino discovers a new "fact" she draws the viewer into her confusion and fear.

This movie has such impact on me that almost 50 years later I still list it as one of the most frightening movies that I have ever seen. Yet this movie does not contain the blood and gore which became popular shortly after this movie was made. It's amazing what impact a good story and great actors can make.

A few years later and this 70-minute flick could have been an entry on TV's The Alfred Hitchcock Hour. It's cheaply produced with a bare-bones cast and in b&w at a time when Hollywood was going all out in Technicolor. But the plucky Lupino plugged along with her gritty little programmers that bucked the tide.

There's nothing special here, but there's enough ambiguity in Agnes's (Lupino) character and the circumstances to keep viewers engaged. A troubled Agnes (note the unflattering name) seeks escape by signing on as caretaker to a vacant old mansion, perhaps haunted by the missing former resident, Jennifer. Soon she gets involved with locals Hollis (Duff) and Orin (Nichols). At the same time, the mystery of Jennifer's disappearance deepens and we wonder about Hollis and Orin.

Oddly, not much really happens. Still, it's a clever screenplay with a number of provocative dark hints. That plus Lupino's superb acting skills provide subtle compensation. I especially like the unexpected hints that goofy kid Orin may not be the innocent he appears. But just why the studly Hollis would be attracted to the rather plain, unstable Agnes remains something of a stretch. Still, it's a measure of Lupino's all-around artistry that, for the sake of the role, she wouldn't flatter her looks. But get out your ear-muffs whenever Agnes starts spinning "Vortex" on the turn-table. It's music-to-go-mad-by, and the last thing wobbly Agnes should glom onto.

Anyhow, the results amount to a decent variation on a familiar thriller theme. I just wish the all-around gifted Lupino would get the industry recognition she so richly deserves.

Watching Ida Lupino in a nearly one-woman show of a movie was enthralling, but its shaggy-dog story let me down. Too bad, because this is a small-budget Allied Artists release that boasts top talent at work: James Wong Howe as cinematographer and Ernest Gold with a strong music score. There's even Matt Dennis on hand in a party scene at the piano singing his jazz standard "Angel Eyes".

But the director is Joel Newton, either a one-shot or a pseudonym. His pacing is lugubrious, basically following Ida around as she is on screen almost throughout, except for a brief plot line sequence featuring co-stars Howard Duff and Mary Shipp.

Casting of Duff, ida's frequent co-star and husband, robs much of the film of maximum suspense, as he seems way too comfortable opposite her, when for dramatic purposes a more sinister Zachary Scott type would have been preferable. Similarly, the 19-year-old delivery boy is played by Robert Nichols, way too old and way too bland for the rather significant (functionally) role.

I enjoyed the atmosphere generated by Howe's location photography, but Ida deserved a better vehicle.

Jennifer stars real-life married couple Ida Lupino and Howard Duff from 1953, directed by Joel Newton.

No wonder Ida fell for Howard - he was quite the handsome hunk back then.

Lupino plays Agnes Langley, who takes a job as caretaker of a spooky mansion, where Duff is Jim Hollis, the financial manager for the family. The previous resident was a cousin, Jennifer who supposedly disappeared. Agnes is assured Jennifer won't be back.

Curious, Agnes begins to suspect there was more to Jennifer's story. She hears from a handyman that Jennifer worked for a big attorney and stole valuable papers. She finds Jennifer's diary and bank book and comes to two conclusions- Jennifer is dead somewhere in the house, and she was a blackmailer.

Gothic drama innovatively photographed with some good effects as Agnes wanders around the house hearing noises and looking nervous. Duff is a true gothic character- you don't know if he had anything to do with Jennifer's disappearance or if he's a good guy interested in Agnes.

Some scary moments and not much of a dénouement. Of note, this film introduced a Sinatra favorite, Angel Eyes.

Worth seeing.