|Full name||Jenny Jones|
Jenny Jones sourcesimdb.com/name/nm0428362
Jenny Jones Biography:
American celebrity Jennifer Jones was born on March 2, 1919 in Tulsa, Oklahoma. Her first acting part in The Song of Bernadette (1943) garnered her an Academy Award. She continued to play in television and movies during the 1940s-1970s and was Oscar nominated five times. Later in life she worked as the chairwoman in the Norton Simon Museum.
Celebrity Phyllis Flora Isley, better known as Jennifer Jones, was created on March 2, 1919, in Tulsa, Oklahoma. Jones studied in the American Academy of Dramatic Arts in nyc, where she met and wed aspiring performer Robert Walker in 1939. Soon after, Jones won a six-month contract from Republic Pictures and moved to California. In the early 1940s, American actress Jennifer met Hollywood mogul David O. Selznick, who saw assurance in Jones’ work and signed her to a private contract.
Generally, Jones’ professional and private engagement with Selznick continues to be given a visibility which has colored evaluations of her distinguishing contribution to 1940s film. Interestingly, the fundamental problem isn’t that Jones lacked ability or display existence. The longstanding criticism is the fact that Selznick, due to his dedication to Jones, had no critical space and, with King Vidor’s Duel in the Sun (1946), attempted to fashion an sexual identity for her, making Jones into a foolish creation. Formerly, Jones’ screen character was as an innocent kid/girl, an picture created by her first starring part in Henry King’s The Song of Bernadette (1943). Jones had also given an extreme and emotionally charged performance as a woman making the transition from youth to adulthood in John Cromwell’s Since You Went Away (1944).
Jones used a level of physical gesture that had more in common with quiet-screen performing technique than with the naturalistic behavioral mannerisms connected to the audio film. Additionally, while Jones’ physical presence is supposed to be provocative, she will not enable her physicality to sabotage the complicated emotional aspects of the character. So, Duel in the Sun is a remarkable accomplishment but, like Jones’ performance, it’s frequently been misinterpreted as degrading to female sexuality. Though imagined on a lesser scale, Ruby Gentry (1952) is equally successful in working with the exact same motifs, and again Jones’s sensuality is essential to the expression of these issues.
Right from the start, the screen part of Jones was imbued using a level of craze, as well as in Vincente Minnelli’s underrated Madame Bovary (1949) this feature erupts with special impact. Minnelli, a director quite sensitive to the many facets of Jones’ sensibility, including her amorous indulgence, encouraged her to give a subtle performance without relinquishing the excessive concept the character has of her individuality. These same components might have already been completely stated in the Michael Powell/Emeric Pressburger model of the Wild Heart (1952), but sadly Selznick’s reworking of the footage doesn’t present a round portrayal.
No matter in what coloration one paints the envied Selznick-Jones cooperation, 1952)’s standing as melodramatic princess of the 1940s is indisputable. If adjectives like ethereal and lustrous became extra baggage with all the passing of time, these qualities were responsible for Jones’ recognizing the evocative dream of Portrait of Jennie (1948), the fortunes idiots love story of Love Letters (1945) as well as the valentine to homefront discouragement in Since You Went Away (1944) – jobs where this performer’s breathless susceptibility aroused the crowd’s protectiveness. Later, the neurotic mannerisms consume Jones’ performances in the unworthy The Idol (1966) as well as the cheesy Angel, Angel Down We Go (1970). Jennifer Jones expired on December 17, 2009 at age 90.