'You remind me of the flower'
Mrs Miniver 9.2
I first saw this film about a year ago, and absolutely loved it. Since, I have wondered whether maybe I was just in the perfect mood for it perhaps, and the second time would be slightly less overwhelming, which can sometimes be the case.. but no.
Sometimes I find that if a film starts as strongly as this one does, then (despite my best efforts to remain neutral) I will look upon it favourably from then on. And since this starts with simply one of the sweetest, most joyous moments of any film I have seen, I had half made my mind up within a few minutes, it is just a gorgeous moment between two people, it makes you smile.
The scene in question is pretty much right at the start as Mrs Miniver arrives at the train station, rushing, but is too polite to refuse kindly station hand Ballard, played by Henry Travers, a minute of her time. He says he has something special to show her, and he's not wrong. It's a rose. It is so perfect in form and scent that he has decided to call it the Mrs Miniver, if she gives him her permission. He sweetly explains her affection for her, crucially, without a hint of romantic intention. The scene has that kind of undescribable charm that you just don't seem to get with modern films. Funnily enough, although the colour of the flower is mentioned, there is no part of me that feels the need to see it in colour. In a strange way, black and white images in films seem to show more detail (I will explore this another time) It is technically well shot also; she moves towards the rose and smells it, blocking our view of Ballard. But the camera pans to also show his reflection in a mirror and as she samples the scent, he mimes her action - sniffing the air, closing his eyes and tilting his head back, smiling. It is wonderful.
The film is laced through with this feelgood factor, especially from the optimistic high voiced children which reminded me of other characters like Scout from To Kill a Mockingbird or Zuzu from It's a Wonderful Life (this is something else that you don't seem to get with modern films)
Normally people will use the term 'feelgood' about the ending of a film which has an upswing after hardship for characters e.g. Slumdig Millionaire. Whereas Mrs Miniver is more thoroughly and literally feelgood. It takes pleasure from the little things, especially at the start to set the scene. I also like other fairly unimportant but memorable moments that help build the world and characters, for instance; we are shown Kay needlessly running to turn the light off in the dressing room at night and she knows it's the milkman because of the tune he's whistling.
The overarching themes of the story are stiff upper lip britishness, all pitching in mixed with some quiet heroics. Take the scene where the small boats are sent to Dunkirk, none of them refuse, or even express concern. It's a bit of a turning point in the film as it makes the war all of a sudden real and close for the family. The way Mrs Miniver handles the german in her home sums her - and the film - up. She is scared, defensive and protective, but doesn't panic and isn't cruel. She feeds him and gets a doctor aswell as the police. Plus she is honest with him. All these natural qualities of hers have made her a very popular resident of Belham. Of course she had a grown son, who himself is away fighting (which in typical fashion she supports and regrets simultaneously) so perhaps she sees the young German as a mirror image of her own child. She thinks about keeping his gun as she too now realises the war is real and close and she may need it, but her duty gets the better of her. Interestingly the director is William Wyler - a French born Swiss-German-American, so perhaps he relates to all sides when it comes to the war, allowing him to be totally neutral, which is crucial in keeping a story of this sort grounded.
Talking of her eldest son, the early scene where he has returned home from University and is all of a sudden morally superior and interminably pompous is wonderfully played out. They are all sat outside at home, like a family often might, and the parents listen to his self-aggrandizing, exchanging knowing looks as if to say 'he has entered this new phase, I wonder how long this will last'. Of course a girl eventually appears and he forgets it all.
WW2 is so ingrained in our collective consciousness that you can't help have a certain level of respect for those who lived through it, whether they were physically fighting or not, and especially if they did it with such grace as Mrs Miniver did. This helps the story be so universally accessible and the audience relate to her and her family so solidly, as does Greer Garson's acting work. Most of the performances are all pretty spot on without seeming particularly special, but this in itself is quite important in ensuring Garson's Kay Miniver is the anchor and all those around her are more supportive. And so it turns out, the film spends alot of time simply showing us her face, which she uses to tell alot of the story wonderfully well. Mrs Miniver truly is England's Rose.
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