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Mrs. Miniver (1942)

Not Rated | | Drama, Romance, War | 1 December 1942 (Sweden)
A British family struggles to survive the first months of World War II.


William Wyler


Arthur Wimperis (screenplay), George Froeschel (screenplay) | 3 more credits »
Won 6 Oscars. Another 4 wins & 7 nominations. See more awards »


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Cast overview, first billed only:
Greer Garson ... Mrs. Miniver
Walter Pidgeon ... Clem Miniver
Teresa Wright ... Carol Beldon
May Whitty ... Lady Beldon (as Dame May Whitty)
Reginald Owen ... Foley
Henry Travers ... Mr. Ballard
Richard Ney ... Vin Miniver
Henry Wilcoxon ... Vicar
Christopher Severn Christopher Severn ... Toby Miniver
Brenda Forbes ... Gladys (Housemaid)
Clare Sandars Clare Sandars ... Judy Miniver
Marie De Becker Marie De Becker ... Ada
Helmut Dantine ... German Flyer
John Abbott ... Fred
Connie Leon Connie Leon ... Simpson


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. Written by Michael Rice <TheMikeRic@aol.com>

Plot Summary | Plot Synopsis


Another triumph for Metro-Goldwyn-Mayer - the producers of Mrs. Miniver See more »


Drama | Romance | War


Not Rated | See all certifications »

Parents Guide:

View content advisory »





English | German

Release Date:

1 December 1942 (Sweden) See more »

Also Known As:

Mrs. Miniver See more »


Box Office


$1,344,000 (estimated)
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs


Sound Mix:

Mono (Western Electric Sound System)

Aspect Ratio:

1.37 : 1
See full technical specs »

Did You Know?


Peter Lawford has an uncredited line at the airfield immediately following the flower show. He runs past the car carrying Vin, and Mrs Miniver and says "the Jerries are over London in the hundreds. See more »


The Minniver's telephones are obviously American sets. See more »


Vicar: [to Lady Beldon who has just entered the railway compartment he is already sharing with Mrs. Miniver] Good evening, Lady Beldon.
Lady Beldon: Good evening, vicar. Oh, oh, shopping's absolutely impossible nowadays! You can't get near the counter and when you do, they haven't got it and you pay twice as much for it.
Vicar: [laughs] What a wonderful description!
Lady Beldon: [to her servant] Sit down, Simmons, and don't snip!
[to the vicar]
Lady Beldon: My dear man, I spent the whole afternoon being pushed around by middle-class females buying ...
See more »

Crazy Credits

Opening credits prologue: This story of an average English middle-class family begins with the summer of 1939; when the sun shone down on a happy, careless people, who worked and played, reared their children and tended their gardens in that happy, easy-going England that was so soon to be fighting desperately for her way of life and for life itself. See more »


Featured in Five Came Back: The Mission Begins (2017) See more »


Midsummer's Day
Written by Gene Lockhart
Played and Sung by the local glee club at the flower show
See more »

Frequently Asked Questions

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User Reviews

a considerate homespun melodrama skillfully eschewing the direct war-zone spectacles and exacting an immense emotional weight in its story
1 February 2018 | by lasttimeisawSee all my reviews

The first inductee of William Wyler's Oscar BEST PICTURE triumvirate, MRS. MINIVER is an undisguised propaganda weepy that emphatically packs a punch what that particular time needs, in 1942 when our world was enveloped under the pall of WWII, and the United States freshly took a hard blow from the Pearl Harbor attack.

A burgher family living in the suburb of London, Clem Miniver (an agreeable Pidgeon as ever) is a successful architect, he and his wife Kay (Garson) has three children, a snug domicile and the film opens with the couple respectively splurging out on luxury items, darting back to the millinery for a with-it headwear or spoiling for a new automobile, and the day is rounded out by a mutual reconciliation that perfectly explains the allure of middle-class content, which significantly pales in comparison with what will soon ensue. The next day, their eldest son Vincent (a spiffy Richard Ney, whose acting days would be put paid to by the disintegration of the marriage with his screen-mother Ms. Garson, 12 years of his senior, in 1947), an undergraduate of Oxford returns home and over a spat with Carol Beldon (Wright, a delighted ingénue in earnest yoked with sublime outpourings of pathos when the crunch hits), the granddaughter of the old money Lady Beldon (Dame May Whitty, loses her Oscar to her co-star Wright notwithstanding, her wits-within-fierceness impression is a force to be reckoned with), he is an idealist and she is more a realist, the two actually are caught by a coup-de-foudre, and before soon Vincent proposes in a home dinner and Carol says yes.

With the war looming toward the isle from the embattled Continent, Vincent enlists in the RAF as a fighter pilot and the announcement of wedding has to be parked. Clem pitches in the mission to rescue British soldiers from Dunkirk evacuation with his motorboat, whereas Kay must come face to face under duress with a wounded German pilot (Dantine) right inside their home, and for the first and only time, she loses her temper with a slap across the aggressor's face when the latter blusters with unrepentant zeal of extirpation, Greer Garson won her Oscar fairly and gracefully with this dignified portrayal.

The pulsating dread of losing beloved ones who are engaged in the warfare pervades through the story albeit the family collectively musters a can-do attitude in the face of adversity (a magnificent shelter-hiding episode speaks volumes of the horror of bombing relying inclusively on the upsetting close-ups and juddering sound effects), after tactfully convincing Lady Beldon that Vincent and Carol are a blissful union, Kay has a heartfelt tête-à-tête with Carol when the pair returns from their honeymoon in Scotland, Carol expresses her understanding of the stake she is taking by becoming a Mrs. Miniver, but in the climax, Wyler and his script-smiths forcefully overturns the casualties to those unarmed folks caught by strafing and potshots, it is this "everyone is in danger of perdition" gravity that potentially actuates the film's "pro-Britain, anti-Germany" impact in the states, beautifully bookended by the vicar's (Wilcoxon) stirring speech in the half-ruined Anglican church.

Under Wyler's well-adjusted administration, MRS. MINIVER - its title, apart from denoting the two women (Kay and Carol), is also the moniker of the rose cultivated by the station master Mr. Ballard (Travers, providentially chalking up a coattail Oscar-nomination), coined after Kay, and is awarded the first prize in the annual village flower show over the perennial winner Lady Beldon, which can be justly symbolized as the undimmed spirit of faith in humanity -, is a considerate homespun melodrama skillfully eschewing the direct war-zone spectacles and exacting an immense emotional weight in its story, potently attests how movie as a media can effectually spur the mass to the exact message of its behind-the-camera masterminds.

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