Boring as an evening with "Family Guy's" Buzz Killington, the predictable marriage of Robert Donat and Deborah Kerr has gotten so staid that they seem too uninterested in the other party to hate them. They do what they need to do. She gets up, prepares his breakfast, he gets ready to go to work, and they are barely able to pucker up to kiss each other goodbye. But this is the beginning of World War II, and Donat must go off to combat. Kerr too gets involved, and as a result, they don't see each other for four years. A lot can happen in four years, and in the case of Kerr, she spruces up her hair, puts on some makeup, and begins to hang out with the gregarious Glynis Johns. He shaves off that horrid mustache, takes off a few pounds thanks to some military exercise, and learns to flirt. Now he is coming home and each of them decides it is time to move on. They meet in the dark, discuss their wish for a divorce, and walk into a restaurant where with the lights on, they see each other really for the first time.
I believe this appears to be a rather realistic storyline because in World War II, many women found themselves making a living, becoming independent, and when the men returned, they were shocked by what they found. The men too went through changes as war, even as horrific as previous ones had been, was entering a modern era, and the enemy was more ruthless and determined than ever. The problem isn't one easily to blame on a mediocre film. Because the original views of this couple is meant to be boring, the actors give boring performances. That is part of what they were called to do. Then, war happens, the two change, and presto, chango, Kerr and Donat are as we know them from more glamorous roles. I do not find the film boring in the sense of sleep inducing, but unless you are really prepared for a dull vision of what this marriage is, you might find yourself yawning in spots. The second half of course livens up, sort of a mutual "My Fair Lady" where the guttersnipe and the chimney sweep somehow got ahold of their own fairy godmother and changed into what they had the potential of being before but had been unaware of. So the acting of the film is not really outstanding, although Johns gives a truly showy performance, but the point is really about story, not acting. Technically, the film (a British MGM production) is superb as many British films seemed farther advanced in that area than American films. (Check out the original version of "Gaslight", as well as "A Canterbury Tale", "Stairway to Heaven" and especially "Black Narcissus" to see what I mean).
In retrospect, this film is probably what the sequel to "Mrs. Miniver" really should have endeavored to be, not the confusing mess that became "The Miniver Story" years after people really cared what happened to those characters.
I believe this appears to be a rather realistic storyline because in World War II, many women found themselves making a living, becoming independent, and when the men returned, they were shocked by what they found. The men too went through changes as war, even as horrific as previous ones had been, was entering a modern era, and the enemy was more ruthless and determined than ever. The problem isn't one easily to blame on a mediocre film. Because the original views of this couple is meant to be boring, the actors give boring performances. That is part of what they were called to do. Then, war happens, the two change, and presto, chango, Kerr and Donat are as we know them from more glamorous roles. I do not find the film boring in the sense of sleep inducing, but unless you are really prepared for a dull vision of what this marriage is, you might find yourself yawning in spots. The second half of course livens up, sort of a mutual "My Fair Lady" where the guttersnipe and the chimney sweep somehow got ahold of their own fairy godmother and changed into what they had the potential of being before but had been unaware of. So the acting of the film is not really outstanding, although Johns gives a truly showy performance, but the point is really about story, not acting. Technically, the film (a British MGM production) is superb as many British films seemed farther advanced in that area than American films. (Check out the original version of "Gaslight", as well as "A Canterbury Tale", "Stairway to Heaven" and especially "Black Narcissus" to see what I mean).
In retrospect, this film is probably what the sequel to "Mrs. Miniver" really should have endeavored to be, not the confusing mess that became "The Miniver Story" years after people really cared what happened to those characters.