Mrs. Miniver

When a film touches one's own reality it becomes something rather special. For this reason I have long held a deep affection for Wyler's saga of an English family on the home front from the immediate pre-second world period to the darkest days of the blitz. It has become very fashionable to sneer at "Mrs Miniver" as sentimental propaganda long after the events it depicted. Was it really like that? Well - yes and no. The whole was very cleverly orchestrated by a team of four scriptwriters (including James Hilton), Hollywood's most accomplished director (William Wyler), MGM's able in-house composer (Herbert Stothart), one of their best cameramen (Joseph Ruttenburg) and a cast, when not verging on the caricature, giving the nearest semblance to the emotions I can remember living through as a child during those dark days. No one sneered at the time and the film gathered a well deserved collection of Oscars. It was only afterwards that doubts set in and reactions from a new generation became derisory. Looking at it today there are many things that are not quite right but they tend to be minor such as the risibly awful choir at the garden party, the maid snivelling to the point of embarrassment, the phoney look of American style fencing around those English gardens and the endless digs at class which, although part and parcel of how things were, were never quite so overstated. Where the work really comes into its own is in its portrayal of human emotions which was always Wyler's trump card. A film that attempts to enshrine that spirit of togetherness that comes to the fore in times of adversity and the fight against a common evil needed a director able to convey with an almost tactile sense of human passion. William Wyler, who during his great period from "Jezebel" in 1938 to "Carrie" in 1952 depicted the human heart with an intensity that has hardly ever been seen before or since, invested his depiction of the British wartime home front with a sincerity that almost completely deflects the arrows of criticism it has so often received. Ask again if it was really like that and I would cite the air-raid shelter scene some two-thirds of the way through as being in every sense definitive. My mother protected me in just such a way during air-raids in South London during the 1940 blitz as do the Miniver parents their children. I remember the crescendo of destructive sounds as depicted in the film as if only yesterday.

With her peaceful English life suddenly thrown into turmoil by the Second World War, MRS. MINIVER continues to provide a solid rock of security for her family.

Released seven months after America's entry into the War, this film did a great deal to inform the American people about Britain's defiance against Nazi Germany and the steadfast resolution of the British people in the face of seemingly overwhelming odds. Coming at a time of heightened emotions - as well as being expertly produced and extremely well acted - it is easy to see why the film earned 6 Oscars, including Best Picture & Best Director.

Greer Garson is completely marvelous in the title role, (for which she won the Best Actress Oscar), presenting a portrait of grace & courage under fire which transcends mere acting. She is representing an entire island full of women who grew the crops & ran the factories and kept the nation operating while the men went to battle. Through her wonderful performance, Garson shows how those she symbolized more than did their part in the fight against the Axis.

Two other ladies give outstanding performances in the film. As the local aristocrat, Dame May Whitty is properly imperious & proud, yet the viewer sees her character unbend over the course of the film to become much more vulnerable. Winning the Best Supporting Actress Oscar, lovely Teresa Wright is luminous as Dame May's granddaughter. Sweetly sensible, elegantly at ease, joyous during hardships, Miss Wright gives a performance not easy to forget.

In solid, understated roles, both Walter Pidgeon as Mr. Miniver & Richard Ney as his elder son, supply good support to the ladies in the cast. Pidgeon gets to pilot one of the Little Boats to Dunkirk and Ney becomes a flyer with the RAF, but both are performed in an almost subdued manner, leaving the heroics to the women.

A quintet of fine actors add small, deft brushstrokes to the movie's canvas: cherubic Henry Travers as the station-master who delights in the gentle art of breeding roses; blustery Reginald Owen as the local storekeeper who eagerly takes over as air raid warden; kindly Henry Wilcoxon as the village vicar; blunt Rhys Williams as the boyfriend of the Miniver's maid (comically played by Brenda Forbes); and Helmut Dantine as the pitiless German pilot who briefly invades the Miniver household.

Six-year-old Christopher Severn will either delight or annoy as the Miniver's talkative infant son. Clare Sandars, as his slightly older sister, is left something of a cipher by the script.

Movie mavens should recognize Ian Wolfe, uncredited as a boatman helping with the Dunkirk rescue.

The scenes involving the brutal aerial bombardment are still vividly suspenseful, focusing primarily on the faces of the actors involved.

Greer Garson gives a wonderful performance as Kay Miniver, a middle-aged English wife and mother whose kindness, intelligence, and positive spirit speak well of women all across England, during the difficult days of WWII. And that's what this movie is really about: the love and devotion of ordinary people during wartime.

Technically, this is a fine film. The script is well written and the plot is easy to follow. Most of the characters are sympathetic, and all of them have convincing arcs through the story. I did not care for the very Victorian Lady Beldon, but Dame May Witty gives a nice performance in that role. The film's plot has an interesting twist toward the end that coincides with the randomness of the effects of war. The story's tone does drip with a bit of sentimentality. But given the fact that the movie itself was made during the war it portrays, I think some sentimentality is entirely appropriate.

The film's B&W cinematography is conventional but competent. Production design and costumes are credible. And the special effects are surprisingly good for the early 1940s.

I will say that the film seems very dated. Customs and manners have changed so much in the last 65 years; the behavior of characters in this film is so proper and formal. That's not a criticism, just an observation.

The 1930s and 40s must have been a truly awful time for peace loving people. It's good, therefore, that we have high-quality films like Mrs. Miniver as a reminder of what life was like for ordinary people, to give us some historical perspective from which to view our own times. Of the many WWII films that I have seen, "Mrs. Miniver" is one of the best.

One unnoticed talent in the picture was Christopher Severn playing the part of Toby Miniver, the Miniver's youngest child. Child actors are often cast strictly for their appearance and their performances frequently leave much to be desired. However, Christopher, playing at such a young age, gives an absolutely delightful performance that is also refreshingly professional. His timing is excellent, his dialogue is on the button, and he hits all his marks. He far outshines his other child co-star. He contributed to every scene he was in. Ironically, the rest of his short career was spent in oblivion, not even receiving screen credit in some of his roles.

The rest of the picture is very good. The sappy violin music through much of the picture could be toned down. But the picture as a whole is far less sappy than many other propaganda pictures of the day and much more believable. Callous modern audiences, hardened by the deadening sex and violence constantly doled out on today's screen, may find some of its conventions amusing. But it stands the test of time and is still a very watchable picture.

I avoided watching "Mrs. Miniver" for years because I assumed it was a treacly, sentimentalized film that ignored what I considered the real issues of war. Knowing Greer Garson, who I considered the anti-Crawford, starred in it gave me more of an excuse.

I finally watched it as "film homework" and loved it. It's about an upper-middle-class English family (although most of the American actors are terrible holding their accents) and their experience in the early years of World War II.

A swiftly-moving storyline takes us from the complacency of peace through air raids, Dunkirk and tragedy. No one is a super-hero, but decent people who understand they must put aside their personal concerns and do what must be done to fight for their country and freedom. No one preaches except the minister and he, only rarely.

Of course, it being England, there's time for a flower show, and being a movie, there's a romance (WWII was not kind to Theresa Wright's characters, however).

The film's remarkable pacing is one of its great highlights. Long transitions are covered in the merest of hints; a comment that a servant has departed, for example. Yet there's time for powerful, lengthy scenes such as that of the Minivers holed up in a crude bomb shelter with their two young children, away from their storybook home. Despite the increasingly hellish crash of bombs and bullets, they try to chat about knitting and such. But soon the fear builds to an unbearable climax and the family desperately clings to one another.

The acting is generally superb, and much of the story is told through silent shots of the stars, rather than dialog. Few moments are as touching as the shot of the glowing young wife seeing her husband off to war, admiring his courage, contrasted by the barely hidden fear and maturity of the mother.

You can nit-pick; the movie has many of the conventional stylistic hallmarks of the period. But it is the masterpiece it has long been hailed.