source: Jennifer on My Mind

Moviecut—Jennifer on My Mind

Jennifer on My Mind

So overwritten and tryhard and lame. Some loser falls for an ugly Joni Mitchell/Sleestak looking chick for some reason and makes a fool out of himself for 2 hours. Even DeNiro can't save this trash as a crazy cabbie. Must've been written while on acid

I first saw this film in a theatre as a teenager and recalled it as perhaps the worst movie I'd ever seen. It was on TMC a few days ago, so I watched again to give it a second chance. I wanted to see if it WAS truly hideous or if it was just a teenage opinion that I'd outgrown. The movie is basically unwatchable, it is unbelievably atrocious! In some societies in might be termed cruel and unusual punishment! However, I do have to give credit to the cinematography, which was very interesting. That would've been something I would've never noticed as a teen. This movie should be viewed only with the sound off!

Tippy Walker and Michael Brandon were very convincing as young trust fund loafers who meet and fall in love. Jennifer is irresistible and she knows it, leading Marcus on and always leaving him. But he's attracted to her and keeps coming back. Anyone who was young in 1971 knows that girls like Jennifer really did exist...beautiful and teasing but noncommittal. Secrets .....secrets that forced them to live a clandestine life filled with sadness, wanting to break free, but ultimately chained to addiction.Marcus is so in love and wants everything to work out, but Jennifer is a user. Just a sad and powerful statement of he rampant drug culture that destroyed so many young lives back then.Sadly, Tippy Walker bowed out of acting after this film...a shame, because she turned out a powerful performance here. Actors have won Oscars for less.

From the writer of LOVE STORY comes another somber slice of downbeat romance as a man looking for love gets mixed up with a selfish and free-spirited blond hippy-chick junkie. It starts with her already dead and we look back on how they met and her mental decline to the inevitable overdose on heroin. The guy hides her body in his piano and then his car trunk until he can figure out a way to get rid of it. There's potential here for some dark humor but it's never really exploited as the film stays on its tragic trajectory to an ending that at least does bring closure to the story. The film has a slow deliberate pace which makes this film really boring because who cares about these people, especially the girl. The best part was an early appearance by Robert De Niro as a high-strung gypsy taxi driver which is about as far removed from Travis Bickle as you can get. See it if you love obscure counterculture cinema of the late 60s/early 70s.

I love films from this period but could not enjoy this one. It was empty and bleak. There was no humor. There was no emotion. There was no tragedy or drama. Jennifer is an empty child like figure, someone for the main character to have sex with basically. The main character is empty and meaningless. Nothing in this film is worth watching.

Michael Brandon and Tippy Walker play a couple of rich, apathetic morons who meet in Venice, smoke grass, have sex and then hook up in New York at a later date, at which time Walker has moved on to shooting up heroin and walking on the ledges and precipices of high places, but isn't worried about breaking her neck because "I have no neck." This is one of those post-sixties burnout movies that should be avoided at all costs unless you are, like me, inexplicably drawn to post-sixties burnout movies, in which case you'll want to give this one a shot. Just don't expect anything resembling a good movie. And director Noel Black's wacko editing style does little other than reveal that he's seen too many Godard movies; he even throws in a "Weekend"-like car accident, in the movie's most berserk moment, when Brandon is being terrorized by junkie hippies hurtling after him in a hearse-like car painted in the colours of the American flag.

Upper class Jew Michael Brandon meets upper class WASP Tippy Walker while both are touring Venice in this sloppy, sentimental movie written by Eric Segal. Segal is, of course, remembered for writing LOVE STORY, the story about the problems of being rich and in love at Yale; it was turned into a movie that was the TITANIC of the era. I was not impressed by its rich kitsch schmaltz, but it had Arthur Hiller directing, and Ryan O'Neal and Ali MacGraw in the leads, and Ray Milland in a supporting role, so at least the studio spent the money for a first class production. In this one, although parts of it are shot in Venice - the one in Italy - the cinematography by Peter Laszlo never bothers to show us any vistas. Kim Hunter was cut out of the final print, lest it be too arty. At least you have Barry Bostwick in his screen debut as 'Nanki'.