Mrs. Miniver

Propaganda films were a dime a dozen during World War II, with most focusing on men in uniform and their valiant efforts against a bitter and relentless foe. 'Mrs. Miniver,' however, was different and unique. William Wyler's understated, sensitive, and utterly involving portrait of a British family and their day-to-day struggles during the German Blitz brings the homefront to the forefront, and with keen perception chronicles the personal battles fought there. Though violence comes at a premium, the standing of 'Mrs. Miniver' as one of the all-time great World War II movies remains undiminished. (It won six Oscars, including Best Picture, Director, Actress, Supporting Actress, Screenplay, and Cinematography, and received a total of 10 nominations.) Along with David O. Selznick's 'Since You Went Away,' which salutes American wartime families, 'Mrs. Miniver' depicts how everyday people confront extraordinary challenges during difficult times, and with courage, dignity, and unyielding will take a united stand against a common evil. Their heroics may be small, but they're as meaningful and important as any on the battlefield, and with simple grace, 'Mrs. Miniver' pays tribute to them.

Wyler's film resonates so strongly and remains timeless because it's populated by identifiable, upstanding citizens who, for the most part, espouse attitudes and ideals akin to our own. Like many of us, the Minivers are a typical family with a stoic yet warm father, Clem (Walter Pidgeon); a spirited, nurturing mother, Kay (Greer Garson); and three children - a grown son, Vin (Richard Ney), and a boy and girl under the age of 10. Though the Minivers are a bit better off than most clans (okay, they're loaded, but still considered upper middle class by British standards), in the carefree days before the first strike of war, Kay still feels guilty about purchasing an extravagant hat. (Clem expresses far less remorse about buying a new roadster.) Vin, just home from Oxford, falls in love with Carol (Teresa Wright), granddaughter of the grouchy, disapproving town dowager, Lady Beldon (Dame May Whitty), and enrolls in flight school immediately following the declaration of war. Clem joins the neighborhood watch, Kay tends to the children, and in between periodic air-raids (which they calmly weather with steely resolve in the shelter adjacent to their home), they all try to maintain a sense of normalcy, honoring their beliefs and not permitting outside forces to alter their way of life. It's a good message, and one that's still relevant in our post-9/11 society.

Wyler does a fine job illustrating the Minivers' easygoing, idyllic existence before the war, and the leisurely pacing allows us to settle in and bond with the family before German bombs begin to fall. (In many ways, the film's episodic structure mirrors that of 'Meet Me in St. Louis' - produced two years later - which also was based on a series of stories with little cohesive narrative tying them together.) As time passes, the Minivers endure more than their share of drama - Clem joins a fleet of small boats aiding in the Dunkirk evacuation while Kay tangles with a wounded German soldier who invades her home - but their strength and nobility never seem phony or self-righteous. After all, the Minivers are British (even though Garson is the only member of the family with an accent), and such behavior is expected from the empire's dutiful subjects.

Of course, that impervious attitude is never more apparent than in the film's most iconic scene. Holed up in their shelter, awaiting the nightly attack, Kay quietly reads 'Alice in Wonderland' to the children while Clem smokes his pipe and drinks tea. A distant barrage can be heard, but it doesn't ruffle their nerves or impinge on their casual conversation. Soon, the squeal of dropping bombs disrupts the calm, but Kay steadies herself with knitting. As the attack intensifies and explosions rock the shelter, the children succumb to panic. Trapped in the cramped surroundings, unable to see outside, and bracing themselves for impact amid the interminable whistling of free-falling missiles, the family huddles together as Kay and Clem comfort the crying children. It's a harrowing sequence - tense, taut, claustrophobic, with sound the only indicator of impending doom - and with one brilliant brushstroke, Wyler paints an indelible portrait of a brave nation under siege.

'Mrs. Miniver' was the top moneymaking film of 1942 and British Prime Minister Winston Churchill was its number one fan, deeming the propaganda it spouted more powerful than a squadron of battleships. The film defined the Brits' practical outlook and stubborn determination, and cautioned the Nazis not to underestimate civilian fortitude. Other countries might collapse under the strain of incessant bombing, the film implied, but not England, which was breeding an army of Mrs. Minivers, all of whom were ready and eager to protect their homeland whatever the cost.

Garson was one of the most respected actresses of the 1940s, earning six Academy Award nominations between 1939 and 1945. Though studio chief Louis B. Mayer originally wanted Norma Shearer to play Kay Miniver (Shearer reportedly declined the part because her vanity wouldn't allow her to be seen onscreen as the mother of a teenager), it's impossible to imagine anyone other than Garson in the role. A touch of affectation occasionally creeps into her portrayal, but a refreshing naturalness and ingratiating charm pervade her work, and her comfortable rapport with Pidgeon, with whom she co-starred in eight pictures from 1941 to 1953, makes them quite believable as a married couple. Pidgeon also received an Oscar nomination (losing to James Cagney in 'Yankee Doodle Dandy'), but his performance seems wooden by comparison.

A radiant Wright, who was nominated for Best Actress the same year for the Lou Gehrig biopic 'The Pride of the Yankees,' justly earned her Best Supporting Actress Oscar with a luminous portrayal that beautifully complements Garson's in both vision and tone, and a pre-Clarence Henry Travers received a Supporting Actor nod as the mild-mannered station master who names a rose after Kay and brazenly enters it in the town's annual flower show, much to the displeasure of Lady Beldon, who has monopolized the contest for decades.

Add to all this an interesting bit of trivia: Garson and Richard Ney, the young actor who portrays her oldest son in the film, fell in love during shooting. The 27-year-old Ney was 11 years Garson's junior, and a rightly nervous MGM persuaded the couple to put off their marriage until the initial promotional and release cycle of 'Mrs. Miniver' concluded. Still, in hindsight, knowing the details of their off-screen relationship, it's a tad creepy watching Ney call Garson "mother" throughout the movie, and seeing her shower him with maternal affection.

Four years after 'Mrs. Miniver,' Wyler would win another Best Director Oscar for another Best Picture homefront film, 'The Best Years of Our Lives,' which chronicles the readjustment struggles returning soldiers face when reuniting with their families. The movie nicely bookends 'Mrs. Miniver' and proves Wyler possessed a special understanding of domestic dynamics and interpersonal relations during stressful times. Though World War II tested the strength of England's inimitable stiff upper lip, 'Mrs. Miniver' provided vital reinforcement at a critical juncture, bolstering morale abroad and infusing an agitated America, which had just entered the conflict, with some much-needed inspiration. And despite the passage of time and a shift in attitude, that inspiration hasn't waned. Like her or not, Mrs. Miniver remains a role model for the ages, and the film that bears her name still merits our attention.

The Blu-ray: Vital Disc Stats

'Mrs. Miniver' arrives on Blu-ray packaged in a standard case. Video codec is 1080p/AVC MPEG-4 and default audio is DTS-HD Master Audio mono. Once the disc is inserted into the player, the static menu with music immediately pops up; no previews or promos precede it.