Mrs. Miniver (1942)

The Minivers, an English "middle-class" family experience life in the first months of World War II. While dodging bombs, the Miniver's son courts Lady Beldon's granddaughter. A rose is ... See full summary »

Director:

William Wyler

Writers:

Arthur Wimperis (screenplay), George Froeschel (screenplay),

Stars:

Greer Garson, Walter Pidgeon, Teresa Wright

Won 6 Oscars. Another 3 wins & 6 nominations.

Cast

Cast overview, first billed only:
Greer Garson	...	Mrs. Miniver
Walter Pidgeon	...	Clem Miniver
Teresa Wright	...	Carol Beldon
Dame May Whitty	...	Lady Beldon
Reginald Owen	...	Foley
Henry Travers	...	Mr. Ballard
Richard Ney	...	Vin Miniver
Henry Wilcoxon	...	Vicar
Christopher Severn	...	Toby Miniver
Brenda Forbes	...	Gladys - Housemaid
Clare Sandars	...	Judy Miniver
Marie De Becker	...	Ada
Helmut Dantine	...	German Flyer
John Abbott	...	Fred
Connie Leon	...	Simpson

Storyline

The Minivers, an English "middle-class" family experience life in the first months of World War II. While dodging bombs, the Miniver's son courts Lady Beldon's granddaughter. A rose is named after Mrs. Miniver and entered in the competition against Lady Beldon's rose.

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Plot Keywords:

rose | middle class | dunkirk | england | air raid | 

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Taglines:

In Her Arms . . . He Felt A Quiet Peace No Terror Could Disturb

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Genres:

Drama | Romance | War

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Certificate:

Approved

Details

Country:

USA

Language:

English German

Release Date:

1 December 1942 (Sweden)

Also Known As:

A Família Miniver

Filming Locations:

Metro-Goldwyn-Mayer Studios - 10202 W. Washington Blvd., Culver City, California, USA

Box Office

Budget:

$1,344,000 (estimated)

Company Credits

Production Co:

Metro-Goldwyn-Mayer (MGM)

Technical Specs

Runtime:

134 min

Sound Mix:

Mono (Western Electric Sound System)

Color:

Black and White

Aspect Ratio:

1.37 : 1

Did You Know?

Trivia

After first-choice Norma Shearer rejected the title role (as she refused to play a mother), Greer Garson was cast. Although she didn't want the part either she was contractually bound to take it, and won the Academy Award for her performance.

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Goofs

The "double decker" bus seen in the opening sequence is not a British bus at all, nor was it actually a double decked bus. An American bus was used, with a false upper deck grafted on to it. The American-style passenger door can be seen on the right-hand side in the bus's first appearance; a real London Transport bus would have had its door on the left-hand side.

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Quotes

Vicar: This is the People's War. It is our war. We are the fighters. Fight it then. Fight it with all that is in us and may God defend the Right.

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Connections

Featured in American Masters: Directed by William Wyler (1986)

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Soundtracks

"Midsummer's Day"
Written by Gene Lockhart
Played and Sung by the local glee club at the flower show

User Reviews

Watch out for the backs of the heads!

What a wonderful film Mrs Miniver still is 58 years later. Like Coppola's 'Gardens of Stone', it deals with war by following the lives of those affected by it, and without showing any combat. It's moving, but unlike many other films of the period, totally unsentimental, though has many warm and winning moments (Pidgeon spanking Garson as the maid walks in, following an eventful morning, to say the least!)

Two sequences particularly clicked on this viewing. The first involves the son/pilot who is recalled to service abruptly when his leave has only just begun. He goes upstairs to get his belongings, the mother and fiancée are left in the room, with the backs of their heads to camera - a most unusual shot 'against the rules' of filming. Then you realise the centre of attention is the space left on the stair by the son - they and we are missing him, awaiting his return, but only for a moment as he must leave again. It's as poignant as the doorway framing scenes in 'The Searchers', and rather subtle.

Another scene is the family in the air raid shelter undergoing a bombing attack. The claustrophobia of the situation, and the bravery and dignity of the powerless family caught there, is focused by a single point of view. The unspoken fear is on the face of Garson, vocalised by the kids who finally awake as the bombardment increases. Long, simple takes perfectly capture the intense atmosphere (and exceptional acting.

When I was young I never appreciated this art of 'invisible' film-making, and just why such directors as William Wyler or Preston Sturges or Billy Wilder do such a good job without you even noticing. The fact their films stand the test of time so well is testament to their wonderful abilities as film-makers.