Background
Jones, Jennifer was born on March 2, 1919 in Tulsa. Daughter of Philip R. and Flora Mae (Suber) Isley. Her father was in dustv show business in Oklahoma: he owned a few theatres and ran a touring show.
(We all want someone to think we’re sensational. We desire...)
We all want someone to think we’re sensational. We desire to be recognized, to be valued, to be respected. To be loved. Yet this natural yearning too often turns into an idol of one of God’s most precious gifts: love itself. If you, like so many of us, spend your time and energy trying to earn someone’s approval―at work, home, and church―all the while fearing that, at any moment, the facade will drop and everyone will see your hidden mess . . . then love may have become an idol in your life. In this poignant and hope-filled book, Jennifer Dukes Lee shares her own lifelong journey of learning to rely on the unconditional love of God. She gently invites us to make peace with our imperfections and to stop working overtime for a love that is already ours. Love Idol will help us dismantle what’s separating us from true connection with God and rediscover the astonishing joy of a life full of freedom in Christ.
http://www.amazon.com/gp/product/1414380739/?tag=2022091-20
(Parenting is the ultimate gift of inspiration, of struggl...)
Parenting is the ultimate gift of inspiration, of struggle, of hilarity and of hope. This book is more than just a gift to my daughters---it’s more honestly their gift to me. Children bring a crisp perspective to love and joy, and a raw fragility to what’s truly important in life. And it’s difficult to take yourself too seriously when you constantly have an entourage in the bathroom with you, handing you toilet paper, or struggling to get past your precariously placed leg to chew on the toilet paper. Actually, the fact that this book exists at all, while I’m down in the trenches of motherhood with two extremely active little ones, is a true testament to the inspiration of children; of spending day-in and day-out with them. What you hold now in your hands is a little piece of my heart. But this book is not only for my kids, it’s for you. It’s for any grown-up who believes in love and second-chances, forgiveness and that it is true that the best things in life are free. Except that kids kind of do cost a lot of money. But they’re worth it. Here, just read this.
http://www.amazon.com/gp/product/1514303167/?tag=2022091-20
(Parenting is the ultimate gift of inspiration, of struggl...)
Parenting is the ultimate gift of inspiration, of struggle, of hilarity and of hope. This book is more than just a gift to my daughters---it’s more honestly their gift to me. Children bring a crisp perspective to love and joy, and a raw fragility to what’s truly important in life. And it’s difficult to take yourself too seriously when you constantly have an entourage in the bathroom with you, handing you toilet paper, or struggling to get past your precariously placed leg to chew on the toilet paper. Actually, the fact that this book exists at all, while I’m down in the trenches of motherhood with two extremely active little ones, is a true testament to the inspiration of children; of spending day-in and day-out with them. What you hold now in your hands is a little piece of my heart. But this book is not only for my kids, it’s for you. It’s for any grown-up who believes in love and second-chances, forgiveness and that it is true that the best things in life are free. Except that kids kind of do cost a lot of money. But they’re worth it. Here, just read this.
http://www.amazon.com/gp/product/1514303167/?tag=2022091-20
(Although preparing regular family meals can be difficult,...)
Although preparing regular family meals can be difficult, it is worth every effort. Dinner provides an opportunity to gather and refresh while spending time together around the table enjoying a meal. The author has collected and tested the book's 100 recipes of main dishes, sides and desserts from years of experience cooking for a large family. Whether you are feeding a family on a budget or need ideas on menu planning, this cookbook is the perfect companion for the busy, working cook. Hearty home-cooking using basic ingredients, plenty of fresh vegetables (and don't forget the bacon) you will return to these recipes again and again when planning dinners for your family or entertaining for company.
http://www.amazon.com/gp/product/1937178374/?tag=2022091-20
(Parenting is the ultimate gift of inspiration, of struggl...)
Parenting is the ultimate gift of inspiration, of struggle, of hilarity and of hope. This book is more than just a gift to my daughters---it’s more honestly their gift to me. Children bring a crisp perspective to love and joy, and a raw fragility to what’s truly important in life. And it’s difficult to take yourself too seriously when you constantly have an entourage in the bathroom with you, handing you toilet paper, or struggling to get past your precariously placed leg to chew on the toilet paper. Actually, the fact that this book exists at all, while I’m down in the trenches of motherhood with two extremely active little ones, is a true testament to the inspiration of children; of spending day-in and day-out with them. What you hold now in your hands is a little piece of my heart. But this book is not only for my kids, it’s for you. It’s for any grown-up who believes in love and second-chances, forgiveness and that it is true that the best things in life are free. Except that kids kind of do cost a lot of money. But they’re worth it. Here, just read this.
http://www.amazon.com/gp/product/1514303167/?tag=2022091-20
(Parenting is the ultimate gift of inspiration, of struggl...)
Parenting is the ultimate gift of inspiration, of struggle, of hilarity and of hope. This book is more than just a gift to my daughters---it’s more honestly their gift to me. Children bring a crisp perspective to love and joy, and a raw fragility to what’s truly important in life. And it’s difficult to take yourself too seriously when you constantly have an entourage in the bathroom with you, handing you toilet paper, or struggling to get past your precariously placed leg to chew on the toilet paper. Actually, the fact that this book exists at all, while I’m down in the trenches of motherhood with two extremely active little ones, is a true testament to the inspiration of children; of spending day-in and day-out with them. What you hold now in your hands is a little piece of my heart. But this book is not only for my kids, it’s for you. It’s for any grown-up who believes in love and second-chances, forgiveness and that it is true that the best things in life are free. Except that kids kind of do cost a lot of money. But they’re worth it. Here, just read this.
http://www.amazon.com/gp/product/1514303167/?tag=2022091-20
Jones, Jennifer was born on March 2, 1919 in Tulsa. Daughter of Philip R. and Flora Mae (Suber) Isley. Her father was in dustv show business in Oklahoma: he owned a few theatres and ran a touring show.
Educated at public schools, Dallas. Attended Monte Cassino Junior College, Northwestern University.
Studied at American Academy Dramatic Arts.
As Phylis Isley, she appeared in two В movies at Republic, New Frontier (39, George Sherman) and Dick Tracy’s G-Men (39, William Whitney). But in 1941, she auditioned at Selznick’s New York office for the role of Claudia (eventually taken by Dorothy McGuire), Selznick saw her, called her out to Hollywood, and put her in a one- act play by William Saroyan, Hello Out There, in a brief theatre festival at Santa Barbara.
Her father put her under contract; he ordered and paid for many lessons; he found her a new name; and an affair began. Yet at that time, Selznick had Vivien Leigh. Joan Fontaine, and Ingrid Bergman under contract as well. Compared with those women, lones was a novice, willing clay, obedient, adoring, and an unknown. Selznick got her the lead role at Fox in The Song of Bernadette (43, Henry King), for which she won the best actress Oscar. Her earnestness, her simplicity, and her wide, credulous eyes all worked for the young woman who sees visions. It was less acting than blessed casting—Jones had been educated at a Catholic school.
As their affair came to threaten his marriage, and help end hers, Selznick cast Jones as the elder daughter in Since You Went Away (44, John Cromwell) and loaned her to Hal Wallis for Love Letters (45, William Dieterle), in which she is verv good as an amnesiac.
Selznick and his wife broke up in the summer of 1945, and not long thereafter he and Jennifer Jones began to be seen as a couple. His control of her, even on loan-out work, was so suffocating and detailed, and so dependent on eternal memos, that he began to earn her a bad reputation. This was increased In her own uncommon shyness and insecurity. In the years that followed, there was great love, but terrible guilt and anxiety as well as contusion and suicide attempts by [ones. She was overwhelmed by Selznicks care, and probably grew more helpless as he made more strenuous efforts to look after her and to promote her as the greatest actress in the world. He controlled her career decisions, but began to lose his own momentum and judgment in the process.
She did Cluny Broun (46, Ernst Lubitsch) at Fox with great charm. But the major screen event ot that time was her Pearl Chavez in Duel in the Sun (46, King Vidor), a lurid Western in which the strain of being a wanton half-breed and the noto- rietv of the sex scenes laid the groundwork for the film’s camp reputation. She was not well cast, but she tried so hard as Pearl, and she was granted the very best inflamed mood that Technicolor could manage. Duel in the Sun is foolish, yet moving— and it could not be so without the turmoil Selznick and [ones had made for themselves.
She had to play a child who becomes a woman in Portrait of Jennie (49, Dieterle), and site was loaned out for two duds—We Were Strangers (49, John Huston) and Madame Bovary (49, Vincente Minnelli). She was at her peak, commercially; she had many offers; vet those two films were the best that plenty of indecision and personal chaos could manage. Most notably, there was a gap of nearly two years in which she was off the screen.
As she and Selznick were married, in 1949, she gave one of her best performances as the Shropshire lass torn between squire and parson in the Selznick-Korda Gone to Earth (50, Michael Powell). It was in 1951 that Robert Walker died, a disturbed man badly served by doctors, and a further spur to Jones's guilt.
She was at her best, seemingly inspired and supported by Oliver, in Carrie (52, William Wyler), and she did a kind of remake of Duel in the Sun—Ridnj Gentry (52, Vidor). She was funny, mavbe without knowing why, in Beat the Devil (54, Huston) and helpless in Indiscretion of an American Wife (54, Vittorio De Sica). Selznicks dominance faltered, and it may not be coincidental that Love Is a Mam/ Splendored Thing (55, King) proved her first box-office hit in years. She aged considerably in the feeble Good Morning, Miss Dove (55, Henry Koster), but she began to show her age in The Man in the Gray Flannel Suit (56, Nunnally Johnson), and she was a very vague Elizabeth Barrett Browning in The Barretts of Wimpole Street (57, Sidney Franklin).
She was plainly too mature and sedate for the Selznick production of A Farewell to Arms (57, Charles Vidor), the making of which was a succession of problems. The film flopped and effectively closed Selznick s career as a producer. He insisted on casting her as Nicole—much too young, far too disturbed—in Tender Is the Night (62, King), a project that he prepared but could take no direct credit on.
When Selznick died, in 1965, she was left with much debt, their young daughter, a broken career, and the emotional wreckage that a great wind leaves behind. It did not all go well. Their daughter, Mary Jennifer, killed herself. Jones’s film career turned to The Idol (66, Daniel Petrie); Angel, Angel, Down We Go (69, Robert Thom); and The Towering Inferno (74. John Guillermin and Irwin Allen). But she married again—to the millionaire art collector Norton Simon—and she became not just his attendant in a paralyzing illness, but a surrogate in his business affairs.
Selznicks unquestioned adoration often meant that she was miscast: for her true range was narrow; her looks went quite early; and her own agonies, mixed with her husband’s interference, lost her many good opportunities. But who else has survived such travails? Who knows how far she understood what was going on. or the effect she was having? She was an actress who caused a huge stir, on and off the screen. And she was such a creature of the 1940s, it seems odd in hindsight that her dark looks and her real experience as femme fatale and harassed woman never graced a film noir—though Laura was one of the projects Selznick deemed unworthy of her.
(Parenting is the ultimate gift of inspiration, of struggl...)
(Parenting is the ultimate gift of inspiration, of struggl...)
(Parenting is the ultimate gift of inspiration, of struggl...)
(Parenting is the ultimate gift of inspiration, of struggl...)
(Although preparing regular family meals can be difficult,...)
(We all want someone to think we’re sensational. We desire...)
Actress: (films) New Frontier, 1939, The Streets of New York, 1939, Dick Tracy's G-Men, 1939, The Song of Bernadette, 1943 (Academy award for Best Actress, 1944, Golden Globe award for Best Actress, 1944), Since You Went Away, 1944, Love Letters, 1945, American Creed, 1946, Cluny Brown, 1946, Duel in the Sun, 1946, Portrait of Jennie, 1948, We Were Strangers, 1949, Madame Bovary, 1949, Gone to Earth, 1950, Wild Heart, 1952, Carrie, 1952, Ruby Gentry, 1952, Indiscretion of an American Wife, 1953, Beat the Devil, 1953, Love is a Many-Splendored Thing, 1955, Good Morning, Miss Dove, 1955, The Man in the Gray Flannel Suit, 1956, The Barretts of Wimpole Street, 1957, A Farewell to Arms, 1957, Tender Is The Night, 1962, The Idol, 1966, Angel, Angel Down We Go, 1969, The Towering Inferno, 1974. (stage appearances) Country Girl, 1966.
President Norton Simon Museum, Pasadena, California, 1989-2009.
Of all actresses loved and promoted by producers (as opposed to directors), the case of Jennifer Jones is the most intriguing. For a fair argument can be made that Daxid Selznick both made and nearly destroyed her career. She was an ardent young actress before she met Selznick, but it is hard now to be sure whether we would know her if his great wind had not picked her up like a leaf. He treated her like his dream; he may have driven her to neurotic illness, and worse. But Jones survived. Indeed, she has buried three husbands, all of them strong and demanding personalities.
Married Robert Walker, January 2, 1939 (divorced June 20, 1945). Children: Robert Hudson, Michael Ross. Married David O. Selznick, July 13, 1949 (deceased June 22, 1965).
1 child, Mary Jennifer (deceased May 11, 1976). Married Norton Simon, May 30, 1971 (deceased June 1, 1993).