Mrs. Miniver Page #2

Synopsis: The Minivers, an English "middle-class" family experience life in the first months of World War II. While dodging bombs, the Minivers' son courts Lady Beldon's granddaughter. A rose is named after Mrs. Miniver and entered in the competition against Lady Beldon's rose.
Genre: Drama, Romance, War
Director(s): William Wyler
Production: MGM Home Entertainment
  Won 6 Oscars. Another 4 wins & 7 nominations.
 
IMDB:
7.6
Rotten Tomatoes:
92%
NOT RATED
Year:
1942
134 min
863 Views


Oh, no, what a shame.

Tires are getting pretty worn

on that old bus.

Clem, you know what I think?

- What?

I think you ought to buy yourself a new tire.

A new tire?

Yes, it might not be a bad idea, at that.

They aren't so frightfully expensive,

are they?

Oh, I guess we can swing it all right.

- I mean, a new tire shouldn't cost more...

...than a new hat, should it?

- A hat?

Well, I just said hat. I might have said

shoes or trousers or anything.

Some more coffee, dear?

- I have some, thank you, darling.

Yeah.

That old bus. Pretty sad.

Been giving a lot of trouble lately.

Has it? I hadn't noticed it.

- That's the danger with an old car.

You don't notice anything,

then when you're doing 70 miles--...

Not with our car, dear.

- And that's another thing. It's too slow.

That car is dangerously slow.

- Clem, what have you been up to?

Come on. Get your coat and hat on.

I've got something to show you.

Smooth, isn't she?

You all right, darling?

- Yes.

I was afraid you'd think

I'd been a bit too extravagant.

Oh, all of us are extravagant

now and then, don't you think?

Of course. It's fun.

What's the use of having a little money...

...if once in a while you can't be reckless

with it on something you really want.

Where are you going?

After all, what is money?

It's a token. It's the power to buy ourselves

something that'll make us a little happier.

You shouldn't be a slave to it, though.

Say, what are you doing, anyway?

What on Earth is that?

- Do you like it?

Do you?

I bought it today.

Isn't it lovely?

Not bad.

I do think it does something for me,

don't you?

Yes, it makes you look rather ridiculous.

- Clem.

Maybe it's this gown.

Doesn't quite go with it.

Yes, but just look at the hat itself.

And if I've had my hair done...

...it'd look different.

- Yeah, it would be a difference.

Yes, it's very pretty.

Good. Then I think it was worth the money.

Much?

- Not for people with a car like ours.

You're pretty clever, aren't you?

- I hope you think so, darling.

Kay, sit down here a minute.

Let me look at you.

You're really quite beautiful, aren't you?

- If you think so, darling.

I think you're even more beautiful

than when I married you.

Could that be?

- I don't see why not.

I've had more reason to be.

Put that silly thing away

and get into bed, now.

Come on, don't stand looking at it all night.

In you go, there.

- It's been a lovely day all round, hasn't it?

Yes.

Clem, I think we're very lucky people.

Because we've got a new car

and a new hat?

Oh, much more than that.

Because of Vin and Toby and Judy...

...and each other.

- Yeah.

Clem.

Guess what.

I had a rose named after me today.

You left the light on

in the dressing room tonight.

Good night, Clem.

Good night, dear.

There he is.

- There he is.

Hello, Mother.

- Hello, Vin.

Vin, darling.

Hello, Dad.

- Fine to have you back.

Judy. Hello, Toby. Toby.

Vin. Vin's got a pipe.

What of it, young fellow?

- Heavens, you've grown.

Only about half an inch, Mother.

- I've grown a yard.

Have you, Toby?

Where's the mustache, son?

- You used to be so proud of it.

I don't remember being so very proud.

- I liked it.

Sorry. I found it took up

too much of my time.

Oh, it did?

- Keeping it trim and all that.

After all, one can't waste too much time

over the vanities of life.

I see. Well, come along, children.

We better get along.

Let's go.

Here we go.

Oh, good heavens.

So your interest

doesn't center on cars anymore, Vin?

Well, this last year at Oxford, I've rather

changed my outlook on things.

You don't say.

- Yes. I think I've grown a little.

Matured in my conception

as to what life's about.

Do you know what Oxford has taught me?

- What, dear?

That I know nothing about anything.

- Rather a waste of time and money, then.

Not at all, because it's shown me

just what I want out of life.

And what's that, Vin?

- To learn.

I want to encompass all the knowledge

I can in my brief span.

What's span, Vin?

- It's a bridge.

A bridge?

- I think of the amount of knowledge...

...in the world:
scientific knowledge,

philosophical, sociological.

And when I realize the infinitesimal

part of this I possess, it makes me shudder.

And apart from all that, Mother, I think

I've developed a social consciousness.

What's that, Vin?

- Why, it's the recognition of my fellow man.

Where are there free men today, any more

than in the 9th through the 15th centuries?

Front door, Gladys.

Look, the 9th to 15th centuries,

when the lords held all the land...

...and parceled out what they wished...

...to their vassals. Look

about. What have we?

As pure a feudalistic

state as there ever was...

...in the 9th through 1 5th centuries.

When I think about it, I'm appalled,

genuinely appalled.

I tell you, Father...

...when I think of the class

system that exists in this country to--...

What is it, Gladys?

- Oh, it's Miss Beldon to see you, ma'am.

Well, show her in, Gladys.

Miss Beldon.

I wonder what that means.

She's probably brought the latest ultimatum

from her illustrious grandmother.

I scarcely know Lady Beldon.

The perfect example

of what I've been saying.

Lady Beldon is the living proof

of the survival of the feudal system today.

You can't escape from

the Beldon influence.

It contaminates the entire village society.

Just as in the 9th to the 1 5th centuries.

- Exactly.

How do you do, Mrs. Miniver?

I'm Carol Beldon.

How do you do, Miss Beldon?

This is my husband.

How do you do?

- And my son Vincent.

How do you do?

- Just in time for tea, Miss Beldon.

Thanks, but I've just had some.

- Sit down anyway.

I can only stay a moment.

Please, do sit down.

You really must excuse me

for invading your house like this...

...but frankly,

I've come to make a request.

A personal request, and as a great favor.

- Well, please, sit down.

Thank you.

You see, my grandmother

doesn't know I've come.

I'm afraid I'm not very good

at breaking things gently...

...so I'll get straight to the point.

It's about the rose.

The rose?

- Yes. The one Mr. Ballard grew.

The Mrs. Miniver.

I hear he's going to enter it

in the flower show.

You mean, for the Beldon Challenge Cup?

- Yes.

But no one ever has entered.... That is--

- No...

...no one has ever entered a rose

in competition with my grandmother.

And that's just the point.

It's become a tradition for her

to win the cup...

...and her roses mean so much to her.

I know it seems an awful thing to ask...

...but I thought you might,

perhaps, as a favor...

...persuade Mr. Ballard to withdraw

his rose from the competition.

You see, to be frank, it's such a beautiful

rose it might easily win, and, well--

Miss Beldon...

...may I ask whether

this is an open competition?

Yes, technically--

- Technically, yes, but actually, no.

Yes, I suppose that's it. You see--

- I see only too well, Miss Beldon.

Because Mr. Ballard

is not of the ruling class...

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Arthur Wimperis

Arthur Harold Wimperis (3 December 1874 – 14 October 1953) was an English playwright, lyricist and screenwriter, who contributed lyrics and libretti to popular Edwardian musical comedies written for the stage. But with the advent of talking films, he switched to screenwriting, finding even greater success in this medium. Early in his career, Wimperis was an illustrator. For 25 years beginning in 1906, he became a lyricist and librettist for musical comedies, including the hit The Arcadians in 1909 and many others. After serving in the First World War, he resumed his career, writing for shows like Princess Charming (1926). Beginning in 1930, he moved into writing screenplays for British films, and, by 1940, for Hollywood films, contributing to dozens of screenplays. He won an Academy Award for his contribution to the screenplay of Mrs. Miniver (1942) and was nominated for another Oscar for his contribution to the screenplay of Random Harvest (1942). He continued writing screenplays until his death more…

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Submitted on August 05, 2018

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