This homely classic of Noel Coward and David Lean is like a corollary to Coward's earlier masterpiece "Cavalcade" 10 years earlier from the 1890s up to the thirties, but this is more concentrated on family life only, and although it's a small world there are some human dramas in it all the same, principally enacted by Kay Walsh as the young and flippant Queenie, the problem child of the family, courted by John Mills as a sailor, who is willing to sacrifice anything for her no matter how bad she behaves.
The main actors are Celia Johnson and Robert Newton, though, matched by the inimitable Stanley Holloway, and some of the best scenes are with him, particularly the long scene of the farewell letter. Celia Johnson always made stark impressions as something of the ultimate woman and mother and more so here than ever.
It's to the advantage of the film that there is not much of the outside world intruding on the cozy family life. Of course, there is some political engagement by one of the sons-in-law, the great strikes make themselves noticed, there is som fascist agitation at Hyde Park Corner, but there is nothing of the great depression, and none of the great political affairs disturb the family.
One of their most charming ingredients is the case of the old mother. She is always discontent and finds a perfect partner to nag with in her unmarried daughter, Celia's sister, and Robert Newton is very categorical in his final comments on her case. It's a masterstroke of Noel Coward to make such a perfectly sour and negative person appear as the most hilarious part of the story.
The main actors are Celia Johnson and Robert Newton, though, matched by the inimitable Stanley Holloway, and some of the best scenes are with him, particularly the long scene of the farewell letter. Celia Johnson always made stark impressions as something of the ultimate woman and mother and more so here than ever.
It's to the advantage of the film that there is not much of the outside world intruding on the cozy family life. Of course, there is some political engagement by one of the sons-in-law, the great strikes make themselves noticed, there is som fascist agitation at Hyde Park Corner, but there is nothing of the great depression, and none of the great political affairs disturb the family.
One of their most charming ingredients is the case of the old mother. She is always discontent and finds a perfect partner to nag with in her unmarried daughter, Celia's sister, and Robert Newton is very categorical in his final comments on her case. It's a masterstroke of Noel Coward to make such a perfectly sour and negative person appear as the most hilarious part of the story.