The effervescent Greer Carson continued her Oscar reign with this forgotten epic like spectacle, an example of what happens when the values of one generation struggling to rise do not mean squat to the next generation who take the silver spoon they were fed with for granted. Garson goes from anxious young lady to beloved matriarch, struggling for years to contribute to society with the ambitious Walter Pidgeon, later finding that the ungrateful dynasty they create doesn't share the values she's tried to instill in them. They are neurotic, greedy, entitled, drunkards and even suicidal, and as an aging grandmother, reaches out to the last one she thinks she can influence in creating a life of meaning, not waste. A brilliant all star cast and the MGM gloss helps this become one of the great films of the 1940's and a film I wish in spite of its popularity at the time was more well known.Like the following year's "The Valley of Decision", this is a family soap opera where each scandal and scheme makes you want to know more about each of these characters. Garson is breathtakingly beautiful, aging from late teens to her 80's, another example that behind every strong and ethical little old lady was once a face of such loveliness that wrinkles seem impossible until the ravages of time take over. Pidgeon has minimal screen time, just part of the ensemble supporting Greer, but as their fourth pairing, it is as important as those and he is vital to how the story builds. Underneath the titles, two fascinating supporting players deliver characterizations that are thrilling in every little detail. As Pidgeon s former mistress, Agnes Moorehead delivers her most surprising performance, an aging French beauty who knows what she has become and willingly passes the baton to Garson, training her in the nuances of becoming a great lady. She deservedly received an Oscar nomination for this part, and you will remember her long after this film is over. She would do her final acting work in a very similar part, the elegant Aunt Alicia in the original Broadway production of "Gigi".Then there's Gladys Cooper as Garson's troubled daughter, so filled with self hate and disrespect for the legacy that she needs to be reminded of her parent's struggles so she could be rich and miserable. Married to an amoral count (Edward Arnold), she mocks everybody other than her mother, including herself in her disgust. With her characterization, misery has never come in such a well dressed package. Everybody else contributes little bits of detail here and there, with Cecil Kellaway, Tom Drake and Lee Patrick among the huge cast of fascinating characters. As this is based upon a novel by Louis Bromfield, I'm surprised that nobody has had the thought of remaking it. In today's world of self centered individuals blaming their problems on the elders in their family without trying to fix their problems besides claiming to have some mental disorder, this feels to be very timely as the world escapes from traditional values and simple beauty that comes from nature and God, not man made pleasures that only briefly remove problems.

Directed by Tay Garnett, the screenplay for this Louis Bromfield novel was written by Robert Thoeren and Polly James to create a romance which plays out over 65 years, mostly in flashback. The drama itself is average, but some of the acting is exceptional including Greer Garson in the title role and Agnes Moorehead as Aspasia Conti; both performances were Oscar nominated. Although there are several other familiar actors and actresses in supporting roles, the film's story revolves around Major August 'Gus' Parkington (Walter Pidgeon) and the simple boarding house maid, girl, he married.The Major's a bit of a scoundrel, certainly an independent and a risk taker, the kind of man who helped build this great country, who is somewhat tamed by Susie, whom he dubs his 'Sparrow', as their relationship evolves. Garson, whose character is an 84 year old widow dealing with the problems of her children, their spouses, and her grandchildren when the film opens, is the only actress who appears throughout the story, though Moorehead and Pidgeon play a close second. Edward Arnold, Gladys Cooper, Frances Rafferty, Tom Drake, Dan Duryea, and Lee Patrick (among others) are Parkington family members who appear in the present day (Christmas, 1938) scenes as does Selena Royale, who also appears in some "earlier" scenes as Mrs. Parkington's longtime maid. Cecil Kellaway, Peter Lawford (though he is just window dressing), Tala Birell, Hugh Marlowe and Fortunio Bonanova, as a hired tenor with Hans Conreid as his manager, appear (among others) in discrete flashback scenes.The present day drama is two fold, granddaughter Jane (Rafferty) wants to marry Ned Talbot (Drake) who knows about her father Amory's (Arnold) embezzlement and pending exposure for such, and serves only to provide Mrs. Parkington with opportunities to privately reminisce about her life with her husband. With the exception of the risk taking Amory, the other Parkington heirs have grown fat and lazy living off of the departed Major's largess - this is epitomized by (the typecast?) Duryea, who plays Arnold's son. Cooper, Patrick and the rest of the family (which also includes Helen Freeman as Arnold's wife and Rod Cameron as Patrick's fourth husband) are given little to do besides feign outrage and fill scenes. Byron Foulger appears (uncredited) as a befuddled genealogist. This part of the story is of little interest, providing only clichés. The love story, a triangle of sorts, provides the film its only compelling moments:The Major owned a mine in some drink water town, named Leaping Rock, out West (in 1873 or thereabouts). His only concern was how fast he could the silver out of it, so he paid the workers (Harry Cording etc.) double so that they'd work it instead of worry about their safety. Susie did the cleaning in the local boarding house, which her mother (Mary Servoss) owned. She's naturally excited to meet the worldly Major when he comes to town to check on his investment; he is smitten with her beauty. However, she will not give in to his charms and become another of his conquests. When the mine inevitably collapses, Susie's mother is killed because she was filling in for her daughter, taking lunch to the men. The Major leaves her no choice but to accept his proposal and the next thing you know they're married, living and staying in the Royal Hotel in New York. But, what do you know, the Major had been practically engaged to a French Baroness, also living in New York, named Aspasia Conti (Moorehead), before he'd gone out to Leaping Rock. So, the first thing he does upon his return, after apologizing to Aspasia, is ask her to help Susie become presentable to all his friends in New York! The Major's new wife is not initially (ever?) accepted, which in a perverse way leads to a miscarriage of their first child followed by the Major's revenge upon those to whom he assigns blame. Evidently, the Major is so much smarter than all the other men on Wall Street that he's able to cause bankruptcies and suicides among his rivals at will. Marlowe, playing a lawyer, and Alma Kruger (uncredited), as one of the wronged's wives, appear briefly as persons who educates Susie about her husband's dealings.Susie's and Aspasia's relationship grows as does Susie's with the Major, though she appears to have the upper hand as she's able to wait him out through various disagreements until he breaks down and/or gives in to her (my wife must have seen this movie before we were married). The couple loses another of their children which causes a separation; he goes to England while she cries for a year. Aspasia alludes to the Major's relationship with a certain household hostess he'd hired, which causes Susie to breakout of her funk and travel abroad. There, she meets her "competition" in Birell's character after she'd mistaken Edward (Kellaway), the Prince of Wales, for a gatecrasher. Edward helps Susie to manipulate the situation in her favor once again. Lawford plays a Lord with no lines.The film's best dialogue, spoken between Garson's and Birell's characters, is a rather catty one. The movie ends by wrapping up the present day situation, or not.

Greer Garson lived to be 91 years old, and she never looked as she did as the older Mrs. Parkington and the older Madame Curie - all white.In this 1944 film, the Parkington family meets for Christmas, just before they all learn of a scandal which will impact the family fortune and the reputation of the family.Thinking about her husband, Susie (Greer Garson), the matriarch, now 84, thinks back to meeting her husband Gus (Walter Pidgeon) at her family boarding house in Leaping Frog, Nevada. The major, as he was called, owned the mine where everyone worked. Susie had always dreamed of being in high society, and she knew all about it and would fantasize about what it would be like. She gets her wish when, after the loss of her mother when the mine caves in, the Major and Susie marry and go to New York.There she meets Aspasia (Agnes Moorhead), the Major's former mistress, who takes Susie in hand and helps her to buy clothes and learn the ways of society. Susie and the Major have children and encounter tragedy and separation. With the Major gone now, Susie reflects on how best to handle this situation by asking herself what the Major would do.Really lovely film, with fine performances by Moorhead, Pidgeon, and of course, Garson. In the beginning she sports a black wig; I kind of missed, even in black and white, her flaming red hair. Strangely, Gladys Cooper plays Garson's daughter when Mrs. Parkington was 84. Cooper was 16 years older in reality. In those days, it was more economical for studios to use actresses under contract than borrow someone (though lending actors out was incredibly lucrative). Possibly Cooper was under contract and available. The film also features Edward Arnold, Dan Duryea, Lee Patrick, Tom Drake, Hugh Marlowe, Hans Conried, with Peter Lawford in a tiny role.Good movie.

Greer Garson and Walter Pidgeon turn in fine performances here, in fact, they're as good here as in any of their films. Garson has long been a favorite of mine, and I particularly revere her performance in "Random Harvest". This film isn't quite that good, but it is a gem.Of particular interest here are two very unusual performances by supporting actors. When I read, in advance, that Agnes Moorehead played a French socialite...well, I just couldn't see it. But, she was wonderful, and this is an Agnes Moorehead you've never seen before! And Cecil Kellaway as Edward, Prince of Wales...again, a very different performance, and so well done.The story itself is interesting, with Garson as an old family institution reflecting on her life. If there's a criticism about this film, it's that Garson looks too young even in her elderly makeup. But, for much of the movie, she's her usual alluring self. Is it a sentimental melodrama? Yes. But a delightful one.