忠勇之家

二战期间的主旋律电影，节奏略显拖沓，抓住德兵，包括最后的教堂圣歌都让我这个共产主义接班人起鸡皮疙瘩，但是就是喜欢。

喜欢英国人的小幽默，喜欢家庭温暖的氛围。

“钱就是为了难得奢侈一把”

“我觉得你比结婚前更美了”

“不想浪费时间活在恐惧中”

和65年前的作品观念不谋而合。都说女性是一个家庭的灵魂，坚强而美丽的Mrs.miniver让人心生向往。

应时而生 影片上映于1942年 是一部很好的战争动员宣传电影 相信给那个年代的人们不少慰藉和鼓励 但由于主旋律 一些处理确实有些过于戏剧化 比如beldon小姐被扫射中弹而死 minver夫人在路边捡到德军 在手无寸铁的情况下 把德军俘获并移交派出所 此类反转确实容易跳戏 虽然如此 有些地方还是蛮动容的 比如地下室被炮轰的惊魂夜 比如minver先生拉着孩子们在断瓦残垣的一处房屋角落的背影 比如beldon夫人 把最美玫瑰花大奖颁给了车站管理工 （此处应该是有政治和整体的隐喻 但我喜欢的原因是欣赏伯爵夫人把自己珍贵的东西让贤给他人的儒雅和气度）影片并没有 大的战争场面 但却通过Mrs miniver 的视角 间接反映了战争对于一个普通家庭的影响 而通过家庭中一员的死 又将这种家庭的生离死别 上升至一群人一个城市 到一个国家的高度 最后一个画面从葬礼吟唱赞歌的人群 慢慢上移聚焦到被炮火炸毁的屋顶的破洞 镜头静止 一架架战斗机从洞口处 笔直地掠过 十分荡气回肠

当然 最后确实要吐槽一下这个中文译名 就像某个影评中所说的那样 译名特别像是某个章回体小说桥段的名字 十分矫情 虽然Mrs miniver 这个名字并不像how green was my valley 或者man for all seasons 那么浪漫和高明 但这个翻译确实 有些silly

第六届奥斯卡最佳影片《乱世春秋》讲述的是英国一战时家国一心团结抗敌的故事，九年后，英国二战时期的抗战家族再一次获得了奥斯卡最佳影片的青睐。两部影片异曲同工皆是赞美战争时期的家族忠勇爱国之行动，《忠勇之家》的结尾甚至利用女配角的死让神父来了一段慷慨激昂的赴战演说。虽然现在看来这种主旋律影片早已过时，但对于战争年代时，这种通过影像传播积极抗战情绪感染群众的方式还是值得赞同的。毕竟反思是留在战后的事，战争之时，就让普通百姓团结一心默默祈祷和平到来吧。

影片一开场极有意思，我在看片之前并没有看简介，但看片名感觉应该是抗战片，而片头焦虑的女儿和神秘的男人言语闪烁行动诡秘的目的居然只有一个——那就是购物！人们说女人的心情三分天注定七分靠shopping，但男人也跑不出这个怪圈，只不过妻子的开销用在了衣物、丈夫的开销用来烧豪车而已。这种奇妙的对话几乎让人以为这部片子会发展成《浮生如梦》那种家庭喜剧，然而一个简单的动作标志着和平的背后是战争的阴影——灯禁，到点必须关灯，避免天上的飞机找到轰炸目标。

影片走势几乎全在意料之中：伯爵夫人最终放弃阶级观念允许平民在玫瑰大赛上获胜、开始针尖对麦芒的两个年轻人坠入爱河、中产阶级家庭从享受生活到积极对抗敌方帮助我方后援、群众团结一心在战火中依然维持欣欣向荣的乐观生活态度。对待战争的态度上，导演也夹杂了大量鲜明的对敌态度：德国兵都是恋战渴望统治全球的恐怖分子，而己方即便怒火冲天也要用正义的手段制裁敌人施以援手帮助他们走上正途。感觉在美国主旋律影片里的英国家庭快要成为全世界战争家族中的典范了，人物塑造如此死板，大概只有战乱时的人们会迫切渴望这种正面情绪吧。

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).

很好的电影，二战，大英，一个中产阶级家庭。米尼弗夫人，爱玫瑰的铁道工人，米尼弗先生，大儿子韦恩，贝尔小姐，老贵族夫人，几乎每一个角色都给人留下了深刻印象。鲜活的人物，平凡的小镇生活，结合敦刻尔克大撤退和伦敦大轰炸的背景，电影令人回味无穷。然而不知何故，在欣赏之余，总是不自主地想到我们国家的1942。 这一年，苏德将斯大林格勒变成了尸山血海，英德意在北非杀得血肉横飞，美日也在太平洋战场血战到底，而在中国战区，远征军为保家卫国开赴缅甸，抗日根据地则在进行艰苦地反扫荡。 同样经历残酷的战争，大英帝国子民和中国百姓境遇却截然不同。电影中的人们虽然要忍受亲人上战场的生离死别，也经常到地下室躲避德军飞机空袭，但大多数时候他们有食物，有教堂，有鲜花，有着正常的生活。而抗战中的中国百姓，则已惨到了难以用言语形容的地步，这方面有太多的历史资料和影视文艺作品。仅仅是1942大饥荒就饿死上百万，数百万人流离失所。 宁为太平犬，莫作离乱人。同在乱世，老牌工业强国和百年积弱的农业帝国也有着天壤之别。生在当下，虽也偶有不如意，却已足够幸运。所以，是的，我想到的正是，大国崛起，才有小民尊严。