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故事发生在一九三九年的夏天,克里姆(沃尔特·皮金WalterPidgeon饰)和妻子米尼佛夫人(葛丽亚·嘉逊GreerGarson饰)住在英国郊外,两人结婚多年,生了三个孩子,生活幸福美满。克里姆的大儿子韦恩(理查德·内伊Ri....

米尼佛夫人

演员   葛丽亚·嘉逊   

克里姆·米尼佛的妻子,英国伦敦郊外一户中等人家的女主人,为人正直。她去朋友家欣赏一种名贵的玫瑰花,结果此花被命名为"米尼佛夫人"。对此,她十分高兴。有一天,她发现附近有一个被打伤的德国飞行员。她就赤手空拳与敌人进行搏斗,并且乘敌人昏厥时打电话报告警察局。

克里姆·米尼佛

演员   沃尔特·皮金   

建筑师,米尼佛夫人的丈夫,魏恩·米尼佛的父亲。为了保卫祖国,他参加了保卫家乡的志愿军。当他和一家人共享团圆之乐的时候,传来了英德开战的消息,于是他跟镇上其他男人一起参加了民兵巡逻队。

贝尔

演员   特雷莎·怀特   

魏恩·米尼佛的妻子。在小镇花卉竞展上,她与魏恩·米尼佛产生了爱慕之情。之后,她与魏恩·米尼佛结婚。有一次,她与婆婆一起送魏恩去驻地,在回家的途中,她不幸中弹。

魏恩·米尼佛

演员   理查德·内伊   

克里姆·米尼佛的儿子,英国皇家空军少尉。在小镇花卉竞展上,他结识了花会创办人的孙女贝尔小姐,并对贝尔小姐产生了爱慕之情。当英德开战的消息传来时,他加入皇家空军,并奔赴前线作战。

《忠勇之家》剧照(共5张)《忠勇之家》将战争大后方的英雄推到了前台,以真情实感给战争的人们以极大的信心和鼓舞。(人民网评) 

《忠勇之家》是二战电影中艺术成就最高的一部。该片以人道和人性关怀为主旨,虽然免不了有政治性的宣传,但是电影艺术家们的卓越表现使得这部描述后方老百姓战时生活的电影胜过了众多正面宣扬英雄主义的电影,成为平民战争片的代表作品之一。

在导演威廉·惠勒的处理下,这部影片虽然没有重大的情节,但是却充满生活气息和浓厚感。影片自始至终都掌握住了观众的情绪;尤其是片中的花展片段,更体现了平凡生活中的不平凡。该段内容把民族团结和爱国热情自然地融入到了乡亲邻里的活动之中,并且用最大的欢乐场面来对比压轴的空袭悲剧,收到极佳的戏剧效果。该片演员搭配整齐,扮演米尼佛夫人的葛丽亚·嘉逊表现出大将之风,而扮演米尼佛夫人媳妇的特雷莎·怀特亦表现出年轻妇女的妩媚与勇气。(《大众电影》评) 

忠勇之家评论

The first inductee of William Wyler’s Oscar BEST PICTURE triumvirate, MRS. MINIVER is an undisguisedpropaganda 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 ideology of its behind-the-camera masterminds.

referential points: Wyler’s BEN-HUR (1959, 8.0/10), WUTHERING HEIGHTS (1939, 7.9/10).