Wyler’s tantalizing close calls may not be fabricated with sharp finesse but is undeniably brimmed with chilling horrors.
Wyler’s tantalizing close calls may not be fabricated with sharp finesse but is undeniably brimmed with chilling horrors. Such an apotheosis of the emotions that each character goes through due to an incident like war that is arguably far from the field, ought to be a proof of witty satirical writing. But mind you, above all, it always will be a family drama. A drama whirling around three dimensional characters that keeps giving us reasons to be attracted to them despite of flaws and mistakes. These characters has an absorbing tale to tell. As much as eye opening message this envelope contains, the script never grows manipulative or provocative to lure the audience in and draw our the emotions through it.
What it relies upon is the performance of the cast. And they have hold on to their end of the promise throughout the course. Garson as the protagonist and titled character, is honest to her portrayal, she is convincing on each frame. On the other hand, surprisingly Pidgeon doesn’t have enough to factor in, in fact Wright as a supporting cast has much more to offer to the film and the audience. It has a very meticulous script. It focuses on weaving out an enclosed circle of short stories that are imputed between this big picture.
Especially the sequence where a wounded soldier follows Garson to her house and has an intriguing encounter in there. It is definitely the highlight of the feature and personally it resonates to me a lot like a scene from Frankenstein where, he is gifted a flower by a child. Creating an accurately humane emotions out of a story within a story marks out as a brilliant filmmaker in Wyler’s basket. Mrs. Miniver is rich in bits and pieces but often fumbling and sloppy as a whole chunk of art piece.