With my repeat viewings of "Mrs. Miniver" on cable TCM (Turner Classic Movies) and PBS, too, I came to realize what a well-made film it is. Certainly deserved the multiple Oscar achievement awards it received. It may be overlooked under the tag of being a WWII propaganda film. "Mrs. Miniver" of 1943 does deliver a poignant war-related story, with an exceptional ensemble cast (including the two young children Minivers) and subtly masterful direction by William Wyler.
The script of four writers somehow managed to include many aspects of wartime family trials and tribulations, young men and older ones fighting for their country, women's role and family members young and old, rich, poor or middle-class, how they cope with their daily living. Amidst all, humor is not forgotten and the atmosphere the family scenes or common-folk (premise being in the early '40s in rural England, we have the station master, butcher, milkman, housemaid, tavern owner) encounters generate are congenial and touching. The central Miniver family is well-represented: father, mother, young daughter and son with a pet cat, and a grown-up son from Oxford. Best supporting actress, Teresa Wright's performance is truly one to watch, everything told from her face with the varying expressions keenly matching her co-stars: Richard Ney (Vin), Greer Garson (Vin's mother), Dame May Witty (her aunt Lady Beldon). Especially when her character Carol Beldon's relationship with Vin Miniver, scholar turned RAF airman, took an unexpected turn. It may seem dramatic, but stepping back, in wartime, anything can happen without warning and such reality holds true still for today.
The set design (by Edwin Willis), photography (by Joseph Ruttenberg), and editing (by Harold Kress), including music (by Herbert Stothart) applied, are all integral with attention to details. I see the swans between Garson and Henry Travers' Mr. Ballard during their impromptu morning chat with the lake behind them (before a suspenseful sequence to follow). The collapsed dining room scene: first we see father, son and daughter standing there, camera pulls back and we see their backs from behind what they are facing the dismal room in ruins (impact of air-raid silent but loud). The pastor talking to his parish community - the beginning and the end scenes contrasting each other. The siren shelter space with the individual first-aid boxes marked with respective family member names, a certain telling sadness prevails. There are also quiet nuance moments between husband and wife scenes from Walter Pidgeon and Garson which inform us what a loving and delightful relationship the two share: in the bedroom, at air-raid shelter, when they're dancing, at dinner table, singing together at the church congregation. So many seemingly minor elements yet never overlooked.
Just like William Wyler's post WWII film "The Best Years of Our Lives" 1946, I have grown to appreciate these Hollywood gems that are truly well-made in every way. Other black & white war-related films commendable are: Delmer Daves' "Pride of the Marines" 1945 with John Garfield; Fred Zinnemann's "The Men" 1950 with Marlon Brando and Teresa Wright again; Mark Robson's "Bright Victory" 1951 with Arthur Kennedy; and of course, Howard Hawk's "Sergeant York" 1941 with Gary Cooper as the WWI American hero (I've posted user comments at "imdb.com/title/tt0034167/usercomments-38").
The script of four writers somehow managed to include many aspects of wartime family trials and tribulations, young men and older ones fighting for their country, women's role and family members young and old, rich, poor or middle-class, how they cope with their daily living. Amidst all, humor is not forgotten and the atmosphere the family scenes or common-folk (premise being in the early '40s in rural England, we have the station master, butcher, milkman, housemaid, tavern owner) encounters generate are congenial and touching. The central Miniver family is well-represented: father, mother, young daughter and son with a pet cat, and a grown-up son from Oxford. Best supporting actress, Teresa Wright's performance is truly one to watch, everything told from her face with the varying expressions keenly matching her co-stars: Richard Ney (Vin), Greer Garson (Vin's mother), Dame May Witty (her aunt Lady Beldon). Especially when her character Carol Beldon's relationship with Vin Miniver, scholar turned RAF airman, took an unexpected turn. It may seem dramatic, but stepping back, in wartime, anything can happen without warning and such reality holds true still for today.
The set design (by Edwin Willis), photography (by Joseph Ruttenberg), and editing (by Harold Kress), including music (by Herbert Stothart) applied, are all integral with attention to details. I see the swans between Garson and Henry Travers' Mr. Ballard during their impromptu morning chat with the lake behind them (before a suspenseful sequence to follow). The collapsed dining room scene: first we see father, son and daughter standing there, camera pulls back and we see their backs from behind what they are facing the dismal room in ruins (impact of air-raid silent but loud). The pastor talking to his parish community - the beginning and the end scenes contrasting each other. The siren shelter space with the individual first-aid boxes marked with respective family member names, a certain telling sadness prevails. There are also quiet nuance moments between husband and wife scenes from Walter Pidgeon and Garson which inform us what a loving and delightful relationship the two share: in the bedroom, at air-raid shelter, when they're dancing, at dinner table, singing together at the church congregation. So many seemingly minor elements yet never overlooked.
Just like William Wyler's post WWII film "The Best Years of Our Lives" 1946, I have grown to appreciate these Hollywood gems that are truly well-made in every way. Other black & white war-related films commendable are: Delmer Daves' "Pride of the Marines" 1945 with John Garfield; Fred Zinnemann's "The Men" 1950 with Marlon Brando and Teresa Wright again; Mark Robson's "Bright Victory" 1951 with Arthur Kennedy; and of course, Howard Hawk's "Sergeant York" 1941 with Gary Cooper as the WWI American hero (I've posted user comments at "imdb.com/title/tt0034167/usercomments-38").