Category Archives: Henry Travers

1946 Films, Christmas, Donna Reed, Drama, Frank Capra, Gloria Grahame, Henry Travers, James Stewart, Lionel Barrymore, Thomas Mitchell

It’s a Wonderful Life-1946

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It’s a Wonderful Life-1946

Director Frank Capra

Starring James Stewart, Donna Reed

Scott’s Review #863

Reviewed February 5, 2019

Grade: A-

A popular holiday tradition in many households eager to cozy up in front of the fire with an enduring and entertaining classic, It’s a Wonderful Life (1946) serves an important purpose and is the ultimate annual festivity passed from generation to generation.

While not one of my standards I do recognize the influence and the endearment the film offers and cannot fault its power to bring people together with its humanistic and sweet message.

James Stewart is perfectly cast as the wholesome and likable George Bailey, who strives to help all those needing help in his small community while neglecting himself.

Depressed by the failure of his bank one Christmas Eve in the 1945 snowy locale of Bedford Falls, New York, George is visited by a guardian angel named Clarence (Henry Travers) who teaches him what life will be like if he chooses the dire path of ending his own life.

Along with Stewart, Donna Reed as the wife, Mary Hatch Bailey is cast exceptionally well and is the perfect counterpart to George.

Together the actors immerse themselves in their roles holding their heads high as the leaders of the sleepy little town they reside in and set an example for the other townspeople with their kindness and thoughtfulness.

A sound “king and queen of the prom” the duo radiate and illicit tears from audience members living their lives vicariously through the couple.

A perfect companion piece to A Christmas Carol, perhaps the version from 1951 for similar periods, both spirited and teaching life lessons, is recommended.

Both are thematically similar in the visitation by a heavenly spirit and offering glimpses into the past, present, and future, the comparisons are endless to say nothing of the Christmastime elements both possess.

Arguably, It’s a Wonderful Life is the most uplifting, both good and bad. The lesson constantly voiced is to be good to other people and one will then be rewarded or at least have peace of mind.

This is not a bad lesson, which is the main reason for the film’s lasting appeal. Bad luck and financial hardship will inevitably make their mark on everyone, but kindness is forever enduring.

The timing of the creation and release of It’s a Wonderful Life is also worth mentioning. As the United States, to say nothing of many European nations, struggled to pick up the pieces after the devastation of World War II, what an opportune time for the picture to immerse itself into the lives of many people in need of a strong and uplifting message.

No wonder the film was popular when first released as the feel-good film of 1946.

The black and white cinematography does wonders to portray the film’s magical atmosphere as the cold and snowy bridge scenes are the high point.

Controversial years later was the colorization, and some would say the ruination, a decision that was met with anger by star Stewart who went as far as testifying in court to voice his displeasure.

At the risk of being raked across the coals and deemed a “Scrooge”, portions of It’s a Wonderful Life are saccharin and manufactured in the utmost goodness-sometimes too good.

Admittedly coming across as a bit trite at times, the characters of George, Mary, and their children seem to glimmer and radiate with only benevolent characteristics never having an improper or impure action. In a fantasy film, the overly humanistic approach can sometimes be a tad silly.

The same can be said for the angel, Clarence.

Nonetheless, films such as It’s a Wonderful Life (1946) serve their purpose in the annals of cinema history.

With a powerful and heart-warming message, the positive vibes cannot be denied and the warmth and emotion the film possesses radiate even the coldest hearts and the harshest of critics willing to accept and be enraptured by the film’s staying power.

Oscar Nominations: Best Motion Picture, Best Director-Frank Capra, Best Actor-James Stewart, Best Sound Recording, Best Film Editing

1942 Films, Best Picture Oscar Winners, Dame May Whitty, Drama, Greer Garson, Henry Travers, Peter Lawford, Romantic Drama, Teresa Wright, Walter Pidgeon, War, William Wyler

Mrs. Miniver-1942

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Mrs. Miniver-1942

Director William Wyler

Starring Greer Garson, Walter Pidgeon

Scott’s Review #841

Reviewed December 13, 2018

Grade: A-

Released in 1942 amid the horrific World War II, Mrs. Miniver (1942) was a smash hit, winning over audiences concerned with the troubled and uncertain times.

Decades later the film does not age as well as other similarly themed films, but still entertains and tells a good story with an important theme.

The film is nestled in the war drama genre with romance. The film won numerous Oscars the year of its release including Best Picture and star Greer Garson winning for Best Actress.

The story is told from the perspective of an affluent British family and the struggles they face to keep things together during growing peril. The focus mostly remains on an unassuming housewife, Kay Miniver (Garson).

The supporting players do much to flesh out the film with wonderful performances by Walter Pidgeon, Teresa Wright, and Henry Travers as Clem Miniver, Carol Beldon, and Mr. Ballard, respectively.

The direction by William Wyler is astounding and adds to the perfectly crafted ambiance and homey details.

The family lives a comfortable life in a whimsical village outside of London. Quite idealized, they own a large garden and a motorboat on the River Thames.

Along with Kay and Clem, their three children of varying ages and their housekeeper and cook reside with them. Besides the parents, the central couple is son Vin (Richard Ney) and the prominent Carol (Wright), the pair initially disagree on politics, but finally, fall madly in love.

As the soap-opera-style family situations continue the war grows closer and closer to their house.

As Mrs. Miniver progresses, Vin enlists in the army to assist with war efforts, a German Nazi breaks into the Miniver house, a central character dies, and bombs and planes crash.

Through it all, Kay remains stoic and takes the family through challenging situations adding much melodrama to the film. The woman’s journey and resolve to keep everything and everyone intact is at the core.

The film is mainly a family drama with the Minivers and the townspeople experiencing trials and tribulations. In this way, Mrs. Miniver risks being a one-trick pony, albeit an emotional and teary-eyed one.

The rich characteristics and the polished nature make the film more than it ought to be and the superlative cast and production values and the timeliness of the film’s release undoubtedly made it what it was in 1942.

In present times, however, Mrs. Miniver seems diminished in importance and relevance with a sappy and overly sentimental feel, World War II in the distant past, and several other wars come and gone.

Wyler carefully packaged the film to hit every emotion from the bombastic musical score to the proper English characters, to the comic relief housekeeper.

The film is a giant Hollywood production, but perhaps a bit too perfect to age with any zest or reason to watch more than once.

The film might be better remembered for its strong female lead. Told from Kay’s perspective, it was unusual in 1942 for a film (especially with a war theme) not to have the story from the male point of view. Still refreshing in 2018, this quality was downright groundbreaking at the time.

Kay stays strong and proud through the ravages of war that are closing in on her family with unbridled boldness and nary a simpering quality. An early champion for strong, female-driven characters and in a smaller way, Wright’s Carol is also a muscled female role model.

Mrs. Miniver (1942) is a well-crafted film of its time that displays lavish production values and strong characters worthy of admiration.

For a glimpse back into the 1940s capsule, especially for those fans of good, solid drama, the film is a major win. There are no major flaws to harp on, but the overall piece has not aged especially well and other similar films (Casablanca, 1942) are more memorable.

Oscar Nominations: 6 wins-Outstanding Motion Picture (won), Best Director-William Wyler (won), Best Actor-Walter Pidgeon, Best Actress-Greer Garson (won), Best Supporting Actor-Henry Travers, Best Supporting Actress-Teresa Wright (won), Dame May Whitty, Best Screenplay (won), Best Sound Recording, Best Cinematography, Black-and-White (won), Best Film Editing, Best Special Effects

1943 Films, Alfred Hitchcock, Best Film of the Year, Henry Travers, Hume Cronyn, Joseph Cotten, Macdonald Carey, Patricia Collinge, Scott's Top 100 Films, Teresa Wright, Thriller

Shadow of a Doubt-1943

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Shadow of a Doubt-1943

Director Alfred Hitchcock

Starring Joseph Cotten, Teresa Wright

Top 100 Films #40

Scott’s Review #117

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Reviewed July 17, 2014

Grade: A

Shadow of a Doubt (1943) is an Alfred Hitchcock film from 1943, made in black and white, that tells the story of a quaint California town with a killer in its midst. The town is idyllic and wonderful- folks go to church on Sunday and meet at the drug store for ice cream sodas.

The film was shot on location in a small town in California rather than on a sound stage, adding much authenticity.

The Newton family is at the center of the thriller, led by Charlie (Teresa Wright), a young woman who idolizes her recently visiting Uncle, also named Charlie (Joseph Cotton). They are very close- almost like father and daughter.

When Uncle Charlie is suspected of being the notorious Merry Widow Murderer, Charlie is conflicted. Could her Uncle be the murderer?

Shadow of a Doubt is one of Hitchcock’s simpler films and a huge plus is the town itself. It’s quiet, and family-oriented- what could go wrong? But evil embodies the town, and events slowly start turning dark.

A scene in which the family sits down for a quiet meal that turns into a conversation about death is famous and powerful. The train sequence is nicely shot. There is also a wonderful side plot involving two friends playing an innocent game of “how would I murder you?”, unaware of the irony of the game itself.

The film is not as flashy or complex as other Hitchcock films, specifically Vertigo, but that aspect works to its credit.

Hitchcock adored the idea of a small town with foreboding secrets and this film is quite the gem.

Shadow of a Doubt (1943) is a good, old-fashioned thriller and a must-see for Hitchcock fans.