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Mrs. Miniver – William Wyler

Submitted by on January 11, 2011 – 12:02 amNo Comment

The sentimental stories of the Miniver family had first appeared in serial form in The London Times, and were later published in book form in the United States, where they had considerable popular and commercial success. At a time when America was still neutral and when the film industry’s pro-British bias was under investigation by a congressional committee, producer Sidney Franklin had the courage to persuade M-G-M to purchase the screen rights to Mrs. Miniver and to assign the scripting to the staunchly pro-British writing team of Arthur Wimperis, George Froeschel, James Hilton, and Claudine West, who, individually and collectively, were responsible for a number of films depicting Hollywood’s view of British heroism and stoicism, including Goodbye, Mr. Chips (1939), Random Harvest (1942), That Forsyte Woman (1949), The White Cliffs of Dover (1944), Forever and a Day (1943), and Waterloo Bridge (1940). Mrs. Miniver was written as a starring vehicle for Greer Garson as a follow-up to her success in Goodbye, Mr. Chips and to continue her teaming with Walter Pidgeon, which had begun with Blossoms in the Dust (1941). Although Mrs. Miniver went into production prior to Pearl Harbor, the United States was firmly involved in the world conflict by the time of its release, and the film’s success was assured.

Despite its tremendous success both in the United States and in England, Mrs. Miniver presents an idealized view of English life. Its central characters represent upper-middle-class English people, who suffered little hardship and privation during World War II as compared to other classes of society living in British cities. German bombers nightly made devastating raids on cities such as London, Hull, Coventry, Bristol, and Birmingham, causing tremen­dous damage and loss of life. These industrial cities were their targets; the Germans would never have wasted bombs on a small village such as that inhabited by the Miniver clan. The suggestion that the Minivers spend their nights in a cramped Anderson air-raid shelter, or the fact that the village church, which in Mrs. Miniver looks more like a cathedral, is deliberately destroyed by bombs, is simply unrealistic. It is obvious almost forty years later that the Hollywood producers and scriptwriters realized that to win sympathy for their cause they would have to depict a war which hurt the upper-class family and destroyed beautiful buildings, rather than a war which ravaged working-class slums and destroyed homes which should have been condemned as unsanitary years before.

The film opens with Kay Miniver (Greer Garson) guiltily buying a foolish little hat while on a shopping spree in London, while her husband Clem (Walter Pidgeon) is equally guilty, buying a new car. Both realize that their expenditures are a little extravagant, but both eventually agree that they are two lucky people to have so much. On the way home, the kindly old station master tells Mrs. Miniver that he has grown a particularly beautiful rose, and he asks if he may name it the “Mrs. Miniver Rose” in her honor.

The Minivers live in a house with the lyrical name of Starlings, and here the family—husband and wife, son and daughter—gather to welcome the eldest son, returning home from Oxford. In an England at peace, the biggest commotion concerns the village’s annual flower show, where the “Mrs. Min­iver Rose” has been entered in competition against a rose entered by Lady Beldon (Dame May Whitty), the lady of the manor. Lady Beldon’s family has, apparently, been growing flowers since the days of William the Con­queror, and no one has dared to question their supremacy until now To add to the controversy, Lady Beldon’s granddaughter Carol (Teresa Wright) is in love with the Miniver’s eldest son, and she worries that Lady Beldon will disapprove of the match because of the success of the “Mrs. Miniver Rose.” A considerable amount .of time is spent on the flower show and its implica­tions, for, as one critic at the time pointed out, it is as if the film’s producers are saying, “If battles aren’t for gardens and roses and neighbors, old and young, gathering at a country fair, what are they for?”

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