Themes: Infidelity, Mothers and Sons, Class Differences
Main Cast: Greer Garson, Walter Pidgeon, Edward Arnold, Agnes Moorehead, Cecil Kellaway, Peter Lawford
Release Year: 1944
Country: US
Run Time: 124 minutes
Plot
The usual modus operandi for Hollywood "through the years" sagas was to gradually age its young actors in the course of the film. In Mrs. Parkington, 35-year-old Greer Garson appears in old-lady makeup for virtually the entire 124-minute running time, even though this filmization of Louis Bromfield's best-selling novel covers the years 1875 through 1938. Eightyish widow Mrs. Susie Parkington (Garson) gathers together all of her grown children in an effort to bail out son-in-law Amory Stilham (Edward Arnold), who's gotten in Dutch through crooked financial deals. As the children and grandchildren bicker over the "impossibility" of giving up any part of their inheritance, Mrs. Parkington's mind wanders back to her marriage to wealthy mine owner Maj. Augustus Parkington (Walter Pidgeon) and her own efforts, as an unlearned Nevada serving girl, to fit into proper Manhattan society. Augustus' ex-love Aspasia Conti (Agnes Moorehead, in a surprisingly sexy role) is engaged to teach Susie the in and outs of which fork to use and how low to curtsy. Shut out by the "400," Susie is avenged by her husband, who wheels and deals to ruin the snobs financially. Later on, he assuages his anger by conducting several extramarital affairs, before perishing in one of those convenient movie auto accidents. Just how all these incidents strengthen Mrs. Parkington's resolve to rescue her wastrel son-in-law is a mystery that even two viewings of this overlong soap opera may not solve. Incidentally, Greer Garson isn't the only one who is prematurely aged in Mrs. Parkington; keep an eye out for 27-year-old Hans Conried, convincingly playing a doddering musician. ~ Hal Erickson, All Movie Guide
Review
Mrs. Parkington is a big, sprawling, glossy family soap opera, and not recommended for those who have problems with the genre; for those who appreciate the genre, however, Parkington is a great way to pass two hours. Not really the "weepie" kind of soap opera, Parkington is still obsessed with long-suffering love, mismatched-yet-inevitable lovers and the proper role of indomitable spirit in a family's backbone. It doesn't do a better job of getting underneath the surface of these issues than any other film, but it does utilize them in a highly engaging and entertaining manner. The black-and-white tone of the story is set up pretty early, as the clearly "in the right" title character interacts with the stereotypically selfish and undeserving descendants who are so clearly "in the wrong." The lengthy flashback that follows is unnecessary to knowing what her decision will be, but it does give us a chance to see the always wonderful Greer Garson suffering nobly, demonstrating spirit, and showing an ability to bear her claws when needed to protect her man. Garson does all of this with her customary skill, and it's a wonderfully entertaining performance. Working somewhat against type, a caddish (if still quite refined) Walter Pidgeon does very well indeed, seemingly enjoying his chance to be somewhat less perfect than usual. Even better, and even more against type, is Agnes Moorehead, whose layered performance as the scorned ex-mistress is a revelation and reveals again how versatile the actress could be when given a chance. There's other fine support from the likes of Edward Arnold and Cecil Kellaway, all under the careful direction of Tay Garnett, who handles the film's big set pieces expertly. Throw in some sumptuous sets and costumes and fine Joseph Ruttenberg lensing, and the result is thoroughly engaging, if also thoroughly superficial. ~ Craig Butler, All Movie Guide
Randall Duell - Art Director, Cedric Gibbons - Art Director, Tay Garnett - Director, George Boemler - Editor, Bronislau Kaper - Composer (Music Score), Joseph Ruttenberg - Cinematographer, Leon Gordon - Producer, Edwin B. Willis - Set Designer, Arnold A. Gillespie - Special Effects, Daniel Hall - Special Effects, Warren Newcombe - Special Effects, Robert Thoeren - Screenwriter, Polly James - Screenwriter, Louis Bromfield - Book Author
