Category: Henry Travers

MRS. MINIVER

By Marc S. Sanders

To watch a classic film, usually reserved for Turner Classic Movies, is to get a history lesson while realizing that people’s perceptions have hardly changed.    In the early 1940s as World War II was occurring, happiness in many corners of the world was still moving forward.  Presently, I believe that happens today.  For example, Israeli hostages are only now being released from Hamas.  Until the conflict is over though, a childhood friend of mine chooses to run every Sunday morning.  He declares that he runs because they can’t.  This friend is not a soldier bearing arms.  He is acknowledging a violent and frightening conflict that persists.  On the side, he’s a devoted New York Yankees fan.  In 1942, when William Wyler’s Oscar winning film Mrs. Miniver was released, the well to do characters were performing comparably as Europe was in the thick of staving off the Nazi militia.

Mrs. Miniver opens on a bustling metropolitan district in England.  The title character, Kay Miniver (Greer Garson), is in a mad rush for something.  She hops on and off the double decker bus and weaves her way through the crowd.  Finally, she arrives at the destination.  The glamorous hat she’s had her eye on is still available to purchase.  Her only dilemma now is what will her husband think when he learns of the extravagant purchase.

Upon her arrival home, Clem Miniver (Walter Pidgeon) hides from his wife in a brand new convertible.  When she goes in the house, he makes a decision.  It’s expensive, but he must have the car and so he buys it.

In this tranquil part of England, the most immediate concern among these well to do people is deciding whether or not to treat themselves to gifts that will bring them joy.  Talk of a German invasion seems like a possibility, but the Minivers, with their two young children and their twenty-year-old son at Oxford, insist on living comfortably and happily.

Lady Beldon (May Whitty) is the elderly and intimidating aristocrat who suffers a terrible dilemma.  It seems the bell ringer, Mr. Ballard (Henry Travers), has grown a beautiful rose that looks like no other.  He cherishes it so much that he names the flower “Mrs. Miniver.”  The real person is honored for the personal recognition.  Yet, Lady Beldon’s concern is her yellow rose will not win this year’s prize trophy cup at the village flower festival.  Her granddaughter Carol (Teresa Wright) gracefully asks Kay if she’ll convince Mr. Ballard to withdraw his entry so that her grandmother can win once again.  She’s elderly, she’s accustomed to winning each year, and it would mean the world to her.

This request will also lead to a romance for Carol with the Minivers’ son Vin (Richard Ney), who has just enlisted in the Royal Air Force so he’s ready to fight the Axis forces of World War II.

All of this seems frivolous during the first half of Mrs. Miniver.  These people live comfortably but gradually grow a little more unsettled as they soon hear planes flying overhead their homes while the sounds of battle play off in the distance.   The possibilities of war coming to their front door seems to be an unlikely scenario.  The battles and bloodshed are out of sight, but only partially out of mind. 

I appreciate the editing of this film.  Clem is woken in the middle of the night to join the other neighboring husbands at the local saloon.  They are being requested to join the historic small boat rescue at the battle of Dunkirk.  The men down a drink and sail off without hesitation.  No one gives protest or stands behind their wealth or stature.

Midway through the picture, Kay is reading a bedtime story to her children in a dimly lit room.  We never see the entirety of this cramped space.  The scene simply begins with no transition.  The walls appear to be made of aluminum and then I realize the Minivers have taken shelter in an underground bunker.  Soon, they will be living through one unimaginable night of shelling and bomb dropping. Director William Wyler never turns off the camera through the extended sequence.  The bunker shakes and rattles.  The children cry in fear.  Dirt rains down them.  Books and belongings fall among the family. The pounding explosions carry on outside.  It seems to never end and the concern over a lady’s fashion hat or a beautiful new automobile are distant memories.

When Vin and Carol arrive home from a honeymoon, the Minivers home is wrecked.  So is Clem’s boat following the Dunkirk incident.  However, they happily remain living there with the youngest child playing a welcoming number on the piano.  

Amid all of these episodes, the people of this small English town uphold their positivity, but they never lose sight of what is nearby.  It’s just a house.  The Minivers are surviving and remain together.  Their biggest concern is that one day Vin won’t return from battle. Yet, time and again he does with hugs and kisses for everyone.

I’ve provided a lot of what occurs in Mrs. Miniver because I was not entirely sure of the purpose of all of these happenings until the final act is served and surprising outcomes arrive.  For much of the film, William Wyler delivers an impression of life away from the front lines.  These people live with a devotion to help their country and abandon comfort when necessary. Flower festivals, gleeful children, young romance and materialistic tranquility will carry on regardless of terrible interruptions of war.

Amid turmoil in our present state with political divides, unjust prejudice, natural disasters, and a resurgence of Cold War threats, I can’t help but wonder if many of us live like this family.  I believe we do, and I see nothing wrong with that.  We have to escape and live happily no matter what terrible future might befall us because otherwise what is the purpose of living?  Still, we choose to remain alert and especially empathetic and ready to aid our fellow neighbors when the need arises.

Visually, a shocking set design for the final scene of Mrs. Miniver sends a message that is only enhanced by a sermon delivered by the town minister.  I learned later that this speech was written at the last second by William Wyler and the actor portraying the minister (Henry Wilcoxon).  It perfectly demonstrates the overall purpose of the entire film.  Mrs. Miniver is the story of a fight for ongoing freedom; an independence to live and to treat oneself happily and lovingly.  People perish during the course of the picture.  The minister explains with convincing validity why they had to die so undeservedly and unexpectedly.  It’s an ending that really touched me, and upon the movie’s conclusion a message appears urging Americans to buy war bonds.  

This speech had such an impact at the time that it circulated in propaganda films and on radio airwaves as a means to deliver a shared triumph among the Allied masses.  It reminded people that simply because you live at home, does not mean you are exonerated of the fight for continued freedom.  The fight is not exclusive to hoisting a rifle or dropping bombs from planes.  A unified front of country must be upheld.  

Mrs. Miniver begins as a romanticized film of people living glamorously and happily but it effectively segues to a reality of uncertain times.  I went from questioning what is its purpose to an understanding of a reason to live and to strive.  

IT’S A WONDERFUL LIFE

By Marc S. Sanders

I have finally righted a serious wrong and watched Frank Capra’s It’s A Wonderful Life, and what a pleasurable experience it has been.  Reader, if this movie lover who gets hopped up on science fiction gobbley gook with laser swords and spaceships can watch an old black and white movie feeling sorrow for its main characters, and elation when the film finishes, then it’s easy to understand how timeless and impressionable Capra’s classic film truly is.

I recall when I had finally seen It Happened One Night, originally released in 1934 and arguably the pioneer of the romantic comedy genre.  I could not help but connect certain moments and pieces of dialogue to the films released while I was growing up, like When Harry Met Sally… and Bull Durham.  Those films took inspiration from Capra’s comedy with Clark Gable and Claudette Colbert.  Capra pioneered storytelling once again with It’s A Wonderful Life.  As my wife and I watched the movie late last night until nearly two in the morning, I said to her this is like Back To The Future.  My wife said A Christmas Carol.  Both true statements.  So perhaps while Capra was revolutionary with his own storytelling, he might have been adopting some inspiration from what came before as well.  Regardless, I applaud his approach.  Frank Capra is a tremendous gift to the cinematic medium.  If there was a Mount Rushmore for filmmakers, Capra would most certainly be sculpted alongside the likes of Hitchcock, Chaplin and Disney.

George Bailey (James Stewart) has big dreams of leaving his sleepy little town of Bedford Falls and building grand designs of skyscrapers while also exploring the world, beginning with Europe and Alaska and whatever else needs discovering.  Like any of us, our yearning for adventure and the destinies we wish for get interrupted. Before you know it, we ask ourselves if life has passed us by.  It takes a guardian angel named Clarence (Henry Travers) to remind George that life has been with him all along; maybe not the life he envisaged, but certainly a life of purpose and significance beyond just himself.

George watches as his high school chums go on to grand accomplishments that pay off in enormous amounts of wealth.  His younger brother Harry (Todd Karns) goes to college, gets married and becomes a celebrated war hero.  However, George remains in Bedford Falls offering loans to his fellow townsfolk that he can’t afford to honor with a business he inherited from his father.  To lend and support comes involuntary to George.  He’s just a good man. 

On the other end of the spectrum is the mean, wealthy miser Mr. Potter (Lionel Barrymore).  Barrymore plays Potter like one of the worst villains in the history of cinema.  An unforgiving, jealous wretch of a man.  His cruelty is long and unmatched, even if he is relegated to a wheelchair.  He knows how destitute George is, despite his unending generosity, but Potter won’t tolerate the admiration George receives.  To squash George’s stature, he’ll buy out his business.  He’ll make every effort to silence George Bailey’s influence.  Potter will even try to take George under his wing where he can maintain complete authority as a big fish in the small pond of Bedford Falls.  Yet, Potter’s never-ending wealth cannot crush the love for George’s humbleness and giving nature.

A favorite device of mine in movies is when the filmmaker can turn the story’s setting into a character all its own.  Examples of this are shown in pieces like Spielberg’s Schindler’s List where the use of thousands of extras and piles of rubble bring testimony to the atrocities of the Holocaust.  In James Cameron’s Avatar (which I just watched as a refresher for the just released sequel), an imaginary neon glowing planet awakens our senses, and we learn that its inhabitants form a symbiont circle with the plant life and animals that dwell there.  In many films, the time and place speak to the viewer.  Bedford Falls is a main character to the story.  Capra makes wonderful use of the Main Street where each business building quickly becomes very familiar as if we have walked into these small town structures a hundred times.  It hearkened me back to my time in Fair Lawn, New Jersey where I would accompany my grandmother on her daily errands to the bank, the kosher deli and the Woolworth’s.  Wherever she went, everyone knew Helen.  In Bedford Falls, the pharmacy with the soda jerk doesn’t look new to me.  It appears like I’d seen it a hundred times before.  Martini’s, the bar, felt like I knew every hob knobber in the joint.  I could smell the ink and feel the creak of the wooden floors in Bailey Building and Loan. 

The townsfolk are also assembled wisely by Capra.  An old man sitting on his porch at night takes in the flirtations that George and soon to be wife Mary (Donna Reed) exchange with one another.  This man represents Bedford Falls taking stock in what’s to come next for our protagonist.  The people in this town have a rhythm to their gatherings.  Capra offers a magnificent shot where the camera is overhead behind George, wearing his overcoat and hat, and the townspeople are facing him at the other end of the sidewalk.  They expect of George, but does George have anything left to give?  I can only see the back of Jimmy Stewart, but I know all too well the expression he’s sending to the people opposite him.  Look at the scene where they march over to George Bailey’s business demanding their monies back.  How one delivers a line followed by another is perfectly timed to James Stewart’s despair.  The ending is beautifully cut as these same folks come into George’s home to offer their sense of giving during a desperate hour of need for George. 

I always knew the story of It’s A Wonderful Life.   Years ago, I saw a stage production where Miguel portrayed George opposite his girlfriend in the role of Mary.  Yet, I was not familiar enough with the surprises that Capra’s film offers.  I just didn’t realize how much fantasy is embedded in the movie as Clarence is meant to be a naïve angel who has yet to earn his wings.  Seems a little too childlike for me on the surface.  I’ll admit I didn’t take to the angels represented as blinking stars early in the picture.  That’s hokey!  However, when Clarence is personified in the latter half of the film, Henry Travers brings a sense of clarity to the purpose of life when he forces George and maybe anyone watching the movie to imagine what things would be like had they never been born.  Reader, I think I’ve seen story adaptations like this on episodes of Family Ties and The Golden Girls.  In this movie, it becomes frightening as we realize the actions we take carry impacts with them.  Had George not rescued his brother Harry from a skating accident, what would have happened to a squadron of soldiers during the war?  Had George not had the nerve to dance with Mary at his high school dance, what would have happened to her?  Had George not existed, then he wouldn’t be available to lend monies to people and what would have happened to a beautiful collection of new homes that would never be erected?  These questions are incorporated into roughly a thirty-minute last act that remind you to appreciate all that you saw earlier in the film.  I want to say its cheesy, but Travers and Stewart really don’t make it that way.  The sequence comes through with forthright honesty from Travers, never going big or outlandish, and genuine anguish from Stewart who convincingly appears like he’s lost everything when earlier he felt like he had nothing. 

I read that Jimmy Stewart did this film shortly after returning from serving in World War II.  He was suffering from PTSD and much of the torment and agony that George exhibits was coming through naturally on film.  This has to be one of the all-time greatest performances on screen.  Jimmy Stewart’s timing in practically every scene of the picture is perfection.  He’s a wide eyed optimist with big enthusiasm to get his life going.  Then he transcends into a teasing flirt with the girl he was not expected to hook up with.  When George tells Mary he wants to throw a lasso around the moon and give it to her, I really believe he could do it.  We have Jimmy Stewart to thank for that.  Later, he’s unexpectedly frightening as he is on the verge of being charged with fraud and penniless.  Stewart is uncompromising in front of Donna Reed and the young actors playing his children.  When he kicks over the table with the train set and gifts, on Christmas Eve, it’s terribly shocking.  Sadly, it’s relatable.  A film from 1946 presents personal problems and struggles that exist today.  That is why It’s A Wonderful Life is such an important piece.  We struggle to live with our struggles.

Frank Capra’s film is necessary to remind each of us to never give up, no matter how hard it gets.  We have value.  We have importance to ourselves and to others.  We are loved.  Yes, it’s only a movie and it conveniently solves itself in its made-up fantasy.  However, those that enrich and occupy space in our daily lives are real and they are folks who depend on us for their fulfillment and happiness.  We are necessary to making their lives better and sustainable.  Reciprocally speaking, they are just as important to mine and your satisfactions.  It might be drippy to claim that Frank Capra’s film is a “feel good movie,” but I prefer to believe that the writer/director, along with Stewart, Reed, Travers and the rest of the company served a higher purpose. They demonstrate that we have all been blessed with an enormous gift filled with the riches of love and friendship that life absorbs and treasures. 

Happy Holidays!!