🎦 Mrs. Miniver full movie HD download (William Wyler) - Drama, War, Romance. 🎬
Mrs. Miniver
Drama, War, Romance
IMDB rating:
William Wyler
Henry Travers as Mr. Ballard
Clare Sandars as Judy Miniver
Connie Leon as Simpson
Christopher Severn as Toby Miniver
Greer Garson as Mrs. Miniver
Brenda Forbes as Gladys - Housemaid
Reginald Owen as Foley
Helmut Dantine as German Flyer
John Abbott as Fred
Walter Pidgeon as Clem Miniver
Dame May Whitty as Lady Beldon
Teresa Wright as Carol Beldon
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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Tear jerking excellence
At the time it was a sensation and one of great influence, which obviously hit home with many American families, with the reality of the War still of course very much alive. The ending is not the expected happy one, but is instead rather thought provoking, stirring and influential. Reality, or part reality is after all always better than the typical MGM musical. Today it is not possible for it to retain the power it held during the period, but one of the reasons it is still a good movie because it is great wholesome family entertainment.

The Minivers are a family with great fortune who are well over the average income earning line to be considered just a middle class family. This is obvious with the picturesque house designed by Mr Miniver the architect. Some of the scenes have now become more noticeably studio bound now, which was something I did not notice before because it was one of the first old classic movies I did watched, but it hardly matters, as it still remains one of my favourite movies.

Greer Garson, in another of her charming English rose roles, gives a superb performance, as the devoted and loving wife. Walter Pidgeon is also great in his role, the second of his teamings with Garson. The great supporting cast includes Teresa Wright, Dame May Whitty, Richard Ney, Reginald Owen and Henry Travers. Henry Travers' as Mr Ballard, station master and a keen rose grower is in particular a memorable performer.

Elements of the film have been well combined with drama, romance, light humour, and finally, tragedy. It may have been given the Hollywood and typical glossy MGM treatment, but it hasn't forgotten either humanity or the sacrifices associated with war time problems.

Showered with accolades and awards at the time, the movie won Oscars for Greer Garson, Teresa Wright, screenplay, William Wyler and Best Picture of 1942. Walter Pidgeon lost to the dynamic performance of James Cagney in "Yankee Doodle Dandy". Henry Travers, and Dame May Whitty also netted nominations.

An agreeable screenplay and the direction of veteran William Wyler make this a forgotten treat. Few films have been as effective as this, and although its message may not ring as clear now as it did then, it has to be saluted for the war time morale it brought to movie goers around the world.

Rating: 10/10

Take the time
Why do so many younger viewers, or stubborn older ones for that matter, avoid a 1940s movie because they perceive it as "old-timey"? This classic film from director William Wyler -- who was to later film "The Best Years of Our Lives" -- makes one laugh, cry and understand the effect of war (timeless war) on so many lives while entertaining the viewer with such ease. Anyone who is not touched by such a film has no business calling himself/herself a film fan. Walter Pidgeon and Greer Garson show why they were such popular stars of their day, and Teresa Wright's performance is magnificent while also familiar to those who know her work. Dame May Witty shows her versatility in a key role of this story concerning class differences in the face of a world war. Look for other familiar faces such as Henry Travers, Henry Wilcoxon, and Reginald Owen, and after viewing check through references to see the the off-screen connection between Garson and the actor who plays her son, Richard Ney.
Greer Garson Soars -- She's A Warrior, A Woman, A Mother And A Saint!
Like many American children born after 1960, I grew up knowing Greer Garson only as the kindly old narrator on the Christmas classic, "The Little Drummer Boy." Not necessarily the best of introductions! Thanks to IMDb, however, I learned that she was once a legendary screen beauty and a major box office draw. Curious, I rented her most famous film, the wartime drama MRS. MINIVER.

What an astonishing artist Greer Garson was! Most "good" Hollywood mothers tend to be solemn, heavy-set, unappealing creatures, like Ma Joad in the GRAPES OF WRATH. Or else they're vacantly pretty but absolutely passive, like Donna Reed in IT'S A WONDERFUL LIFE. But what's shocking in MRS. MINIVER is that Greer Garson plays the title character as a stunning series of contradictions. She's the good mother, but as seductive as any screen siren. She's brave but gentle, vain but modest, sensual but thoughtful, silly but kind. She's got courage, warmth, a sense of humor, and also quite a bit of feminine vanity about her stunning looks and quietly knowing sex appeal.

Just like GONE WITH THE WIND, this is an epic of women in wartime. But Mrs. Miniver is neither a temptress nor an angel. She's an honest woman supporting an innocent people with a just cause. Greer Garson has to combine the sweetness of Melanie Wilkes with the fire of Scarlett O'Hara -- and she pulls it off with breathtaking ease.

The movie is very daring in that it introduces Mrs. Miniver at her weakest and silliest -- gossiping with the local vicar and admiring herself in her new hat. But before long you understand why every male in the village from the train station master to the vicar to her own husband regards her with a mixture of worshipful admiration and lustful awe -- because she combines all of the traditional motherly qualities with a thoroughly bewitching and very modern feminine allure! Just about the only person in the village who isn't under her spell is the local aristocrat, a formidable old lady who can't quite make out what everyone sees in the strikingly pretty but cheerfully middle class Mrs. Miniver. By the end of the movie, though, after you've seen Mrs. Miniver stare down a sadistic Nazi pilot, comfort her sobbing children during an air raid, and even tease her adoring husband into giving her a quick, playful and provocative spanking in the bedroom, you understand why the local rose grower wants to name his most perfect flower "The Mrs. Miniver." And the dignified but lonely local aristocrat, (who wanted the rose named after her) ends up surrendering to Mrs. Miniver just like the German pilot.

The world we live in today is just as frightening and upsetting as the world these characters inhabit. But watching MRS. MINIVER you feel a terrible longing for a time when Hollywood made films like this.

When will Cate Blanchett play a woman like Mrs. Miniver?
Much Of It Still Works Quite Well
There seems to be little doubt that "Mrs. Miniver" served a useful purpose in its day, in addition to receiving praise and critical acclaim. Without its topical immediacy, not all of it is quite as compelling now as it probably was in the early 1940's, yet a good deal of it still works well, with fairly simple but worthwhile characters who are portrayed by a pretty good cast.

The first part is well conceived, if a little slow, showing the fussing and concern about day-to-day issues that will soon cease to have much significance. The bulk of the movie then provides an assortment of wartime experiences, most of them at least interesting, and some of them quite tense.

It does well both as a general portrayal of the kinds of sudden and unpleasant changes that ordinary persons must endure due to international events beyond their control, and as a portrayal of an English family in their time of crisis. This portrait is no doubt stylized in some respects, but it is believable in preserving the types of experiences that only those who lived through them could really understand.

There are a few times when the pace lags too much, and this tends to detract from the drama rather than adding to it. At other times, though, the low-key tone makes critical moments more believable and sometimes even more compelling. Overall, it's still worthwhile and is generally effective, even if it no longer has its former immediacy.
A wonderful war drama with a staggering performance by Garson
William Wyler's 1942 film "Mrs. Miniver" tells the story of a mother, Kay Miniver (Greer Garson) who is trying to hold her family together during World War II in England. Her husband Clem (Walter Pigeon) is part of the patrol in their small village, their son Vin (Richard Ney) is fresh from college and now in the Royal Air Force, after marrying Carol (Teresa Wright). Two more small children, Toby and Judy round out the Miniver family, who finds that they go from relative upper-middle class comfort to watching helplessly as their village is destroyed around them. All the while, Kay Miniver remains a bastion of strength, despite her own fears and discomfort.

"Mrs. Miniver" became very popular during the war because it was a very realistic depiction of what civilians had to deal with in England during WWII. It is hard to imagine dealing with night raids and bombing when we have not fought a war on American soil since the 1800's, but while watching the film's frightening war scenes, I tried to imagine the courage that must have been necessary to survive. I have of course thought about these things to some extent, but it is ironic that a William Wyler melodrama was the film to really put all of it into perspective, not the big budget war films of the last sixty years. This is truly a testimony to the greatness of the film and its actors.

Greer Garson is luminous and superb. She always seems to play very wise, strong women (see "Pride & Prejudice"). While the title of the film is "Mrs. Miniver", it is centered on family, however. From the fabulous chemistry between Garson and Pigeon, (you REALLY believe that they are happily married) to the natural on-screen relationship with the children in the film (particularly the small ones), theirs is truly a delightful family. As for Mrs. Miniver herself, she is such a good person that pretty much everything around her becomes more positive with her involvement. From the beautiful rose named in her honor in the beginning of the film, to the denouement when the family home is half destroyed, Miniver is a pillar of strength, and most importantly, dignity. There are no histrionics or cheesy performances in this film, least of all by Garson.

"Mrs. Miniver" has many ups and downs, and it certainly does not end on an uplifting note, but while it is a tear-jerker, "Mrs. Miniver" is so well made that its subtleties make the film even more effective. There will be a scene where a mass is being performed in a church that is almost completely destroyed in order to show that most everything in their little village has been destroyed in one way or another. The fact that this church was, in earlier scenes, a place for courting, and the place where two of the characters get married is not even pointed out. Instead of saying "Look at me, this is a melodramatic and sad moment", Wyler chooses to let us come to that conclusion on our own. These are just a couple of reasons I would recommend "Mrs. Miniver" without any reservations, and only a couple of the reasons why I give this film a very solid 8/10.

Families and war
The ever so nice environment of middle-class England before and during the war is shown to perfection. The daily life of the people at home while fathers, sons and lovers are fighting is touchingly portrayed as they struggle to maintain normality but tremble with terror as their world is threatened. The minor aspects of war that we tend to forget such as the black market for food, the blackout restrictions and life in the shelters are all treated in this film that was meant to show the backbone strength of the families at home during wartime.
Never a rose without the thorn.
Nicely done story of an English family during the blitz in 1940-41. Before the war, we are introduced to Mrs. Miniver (Garson), matriarch of a warm, happy middle-class family straight out of "Father Knows Best" except that in this case it's usually Mother who knows best. She and her architect husband (Pigeon) have three children, two small and cute, one grown up and just out of Oxford. He's smart but he's a callow youth. (All youths are callow.) The kid sounds like a fatuous Marxist at the dinner table, but a pretty guest (Wright) soon brings him down to earth.

Theresa Wright is a member of the Beldon family. They're aristocrats, not middle-class like the Minivers. There is also a working class in the village, shopkeepers, postmen, and people of that ilk, and the Minivers enjoy friendly relations with all of them. But Lady Beldon (Whitty), the Aristocrat-in-Chief, holds them all in contempt. However, the aristocratic Wright and the non-U Miniver son from Oxford fall in love and -- Well, I could go on with this, but not without sounding like a sociologist.

What it is, is a kind of training film for civilians during war time. Mrs. Miniver is a resolute, brave, uncomplaining, church-going, stiff-upper-lip model of civilian endurance. Not just for the Brits who, by the time of this release, had already learned any lessons to be derived from suffering, but for Americans too. The movie was released in 1942 and shot in 1941, when Europe had been at war for years and everyone knew that the war was just around the corner for Americans. So, while the Army recruits were getting movies showing them how to avoid venereal disease, the civilian audiences got movies like this, demonstrating how to avoid breaking down under stress.

It's filled with stereotypes but well done for what it is. I'll give an example of a well-written scene. It's the blitz. The Miniver family is huddled down in its bomb shelter in the back yard of the mansion they live in. They're subject to Nazi bombs that scare hell out of them and bash in their dining room.

Here's how a perfunctory script would handle the scene. The sirens wail. The family rushes to the shelter. Suddenly -- overhead -- the roar of airplane engines. Anti-aircraft batteries bark at the enemy. A salvo of bombs blasts the shelter as the brave but terrified Minivers huddle together and silently pray. The bombs stop as abruptly as they began. The Minivers emerge from the shelter and stare, stricken, at their smoking, half-ruined manse.

Not here. The scene opens with the family already in the shelter, looking out the door while a city on the horizon is aglow with searchlights probing the sky and fitful bursts of anti-aircraft shells. "Not many bombs," observes Pigeon. And we think, "Whew, at least the Minivers aren't getting slammed." Back into the shelter, where they read "Alice in Wonderland" to their dozing children. Then, from nearby, the loud KRUPP of batteries going into action. Then the sound of airplanes. The Minivers sit silently, Garson knitting calmly, Pigeon staring at the walls. Nobody says anything about having loose bowels or needing a jolt of whiskey. The whistle of the first bomb at a distance. Then another, closer. Then a veritable rain of bombs knocking everything over in the shelter. Fade out.

A scene at the railway station follows. The Oxfordian is in the RAF and has just returned from his honeymoon with Wright. After an effusive greeting, Pigeon says, "Well -- I'll show you to your room." And they walk up the path into the house, and for the first time we see that half the house seems to have been dismantled by the bombs -- windows broken, daylight showing through the roof, furniture reduced to kindling.

I've spent that much time on one scene because the scene illustrates the care with which the script was put together. A more reckless approach would have had the whole business over with in five minutes. Instead, the terror and ultimate shock are allowed to creep up on us, bit by bit, as the threat grows nearer and the aftermath of its impact delayed. Good job.

Helmut Dantine is a surprise as a downed and desperate German pilot. For one thing, he's handsome instead of ugly. For another, he shows weakness from his wound and when he collapses in pain, we almost feel sympathy. I only wish he hadn't had to eat like an animal and bark out order like, "Give -- me -- coat." He should be stalwart. Instead, he acts and sounds like Frankenstein's monster.
A Sublime Achievement of Technical Filmmaking
We are all well acquainted with the propaganda aspects of William Wyler's multi-Oscar winning film. Made to encourage American efforts to help their British allies, it offers an idealized portrait of a middle-class family undergoing the exigencies of bombing from the invading Germans. They try their best to sustain their stiff upper lips, but tragedy strikes at unexpected times, rendering the task even more difficult.

British film-goers would have probably understood the film's artificialities - the chocolate-box sets, the expensive looking "used" car that Mr. Miniver (Walter Pidgeon) brings home, the community regularly gathering to celebrate annual rituals such as the rose festival. Such occasions are the stuff of novels like H. E. Bates's THE DARLING BUDS OF MAY rather than the warp and weft of wartime British rural life.

Yet despite its shortcomings, Wyler's film retains its integrity. This is chiefly due to some wondrous use of visual and aural techniques for dramatic effect. As we witness the Miniver family regularly assembling for dinner, we understand that it's not the good that's important but the ritual - a means of keeping the family together during difficult times. The same also applies to the rose competition where Lady Beldon (Dame May Witty) is to desperate to win. It's not the roses that are the point of debate; it's the sense of believing in something tangible that will survive even the most forceful German attack. Such hopes sustain the community through the worst of times.

The film has some memorable single moments, making us realize just how much pressure people have been placed under. When Mrs. Miniver (Greer Garson) is faced with a desperate German prisoner (Helmut Dantine), she has to take the law into her own hands and strike him. Her hand whips down with a whooshing sound; Wyler cuts to her astonished face, and then to that of the prisoner. Neither of them speak for a moment, but they recognize the significance of that moment. An ordinary homemaker has had to sacrifice her comfort zone in order to survive; it is not something she relishes, but circumstances demand it.

Garson also proves herself to be wonderful with gestures. When she realizes that her daughter carol Beldon (Teresa Wright) has been killed, her face remains as tight-lipped as usual, but her eyes become hooded as she stares at the corpse beneath her. Nothing will induce her to let her emotions run riot, but the scale of the tragedy lurks behind her eyes. It is a tremendously emotional moment, one that makes us understand the human cost of war - not just the Second World War, but any subsequent conflict.

It is this truthful quality, one that I think has seldom been recaptured in war films released since MRS MINIVER that renders it such a truly great film.
Naive but Enjoyable
When we see films that are 60 years old we must disabuse ourselves of the techniques used in modern cinema.Today the audience has been weaned on social realism, technical excellence, computer and graphic effects.There has also been the scholarship and body of experience and knowledge that has built up over this intervening period.The audience in war torn Britain in 1942 were far less sophisticated as they lived in a society where you only had a radio and the written word if you were lucky.There was no means of comparison, indeed their cinema probably looked (through their eyes) quite sophisticated after the melodramatic gestures and emoting of silent cinema from their previous generation.

I therefore have to grit my teeth when I see the wrong items listed by a previous reviewer in this film, (e.g. American garden fences, interior decor, speech patterns etc).However, Hollywood had the money in 1942 to produce this film while film finance was difficult to obtain here during the war.If Winston Churchill thought this a wonderful propaganda film and that it had a positive effect on war morale, then in spite of its modern technical shortcomings, it achieved its aim and therefore must be considered significant.I have a bit of a hazy memory of this one as I don't own this title on VHS and have only seen it about twice but I do remember that Greer Garson's performance justly stood out.Her calm, intelligent, poise was ideal casting in the portrayal of a British housewife (played by a British subject) whose life is about to become highly traumatised as a result of her family's involvment in WWII.How I would have loved to have seen a British version with an all British cast actually filmed in England at the time but many British actors were serving in the armed services then.

I am intriged by a modern trend of American actresses coming over here to the UK to play British parts with accent to match.Predominatly I am impressed by Gwyneth Paltrow and Jennifer Ehle both of whom have been to my ears very convincing in recent years.Greer Garson justly won her Oscar as best actress and it seems after reading her biography she was almost the same persona in real life, so the part came very naturally to her.
Just the bravest women can survive it.
A duty to fulfill... The faith to keep... The fear to face with... A family to keep together... A man to love... A life to fight for... These are the things that women have to do during the war. Recently I saw two great war films from the same period, which are represent the different sides of the war: Sergeant York (1941) and Mrs. Miniver (1942). It was interesting to compare the two films with each other. 'Sergeant York' is about the men's side, 'Mrs. Miniver' is about the women's side of the war. I have to say that 'Mrs. Miniver' is the best war movie ever, however it's not definetely a 'real' war movie. It's about the life behind the lines, how women keep their families together. Sometimes life is harder there than on the battlefields, because women worry about their husbands and sons and have to care about the children. It's the fight for everyday life.

After the nostalgic, sometimes boring scenes at the beginning (boring, because life is sometimes boring in peace), the film turns into a nightmare. The psychology of the war behind the lines is wonderfully represented. This film deserved every single Academy Award which it got. It's full of wonderful performances: Greer Garson, Teresa Wright, Walter Pidgeon and Henry Travers. The screenplay is beautiful it's full of great lines and dialogues, for example when Greer Garson and Teresa Wright are speaking about the happiness and that we have to be happy even in these days and we have enough time to cry if we lost our love. At the end of the film the preacher asks a question: Why have innocent women, children and old people to be sacrificied in the war? But he fails the answer. The real answer is that this is the war, war is about sacrificing the innocence. That's the only thing what this film fails. UNFORGETTABLE SCENE: When thousands of small boats are getting together and the big ship orders them and the destination is: Dunquerque.
See Also
📹 Mrs. Miniver full movie HD download 1942 - Henry Travers, Clare Sandars, Connie Leon, Christopher Severn, Greer Garson, Brenda Forbes, Reginald Owen, Helmut Dantine, John Abbott, Marie De Becker, Henry Wilcoxon, Walter Pidgeon, Dame May Whitty, Teresa Wright, Richard Ney - USA. 📀