Plantiana Yawn. Poorly Filmed Snooze Fest.

Inclubabu Plot so thin, it passes unnoticed.

Spidersecu Don't Believe the Hype

Dirtylogy It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

lasttimeisaw Tay Garnett's resplendent black-and-white MS. PARKINGTON represents one of eight Garson-Pidgeon star-vehicles, it is a vintage family saga of our titular heroine Susie Parkington (Garson), a rich matron starts with a humble beginning as a chambermaid, when a mine explosion takes her mother's life away, out of guilt and admiration, Major Augustus Tarkington (Pidgeon) marries her and spirits her away to New York, so she can get a luxurious life a woman can ever dream of. She gets some advice to adopt the lifestyle of beau monde from a French aristocrat Baroness Aspasia Conti (Moorehead), who is also Major's confidant. And a new but tumultuous page of life opens and Susie gives her best shot to manage a perfect marriage with a dignitary and grows up to be an exemplar who knows and accomplishes a woman's true worth, heightened by a dramatic presentation of an inopportune situation when most of their dinner guests are in absentia for their fancy reception and bookended by a vignette in London involves Edward, Prince of Wales (Kellaway). These mentioned above actually are told through flashbacks by Susie, when she is an octogenarian and Augustus has long gone, during a Christmas gathering, she learns that her favourite great granddaughter Jane (Rafferty) decides to elope with a former employee of her father Amory (Arnold), and later finds out Amory is going to prison for fraud if he cannot pay a loan worth $31 million, which is equivalent to the entire inheritance for her offspring. It is drastically ironic that her progeny are abominable snobs (save Jane), since Susie is an excellent woman in all respects, but still, bad parenting cannot be dodged, through Gladys Cooper's portrait of her daughter Alice, a sheer ne'er-do-well and pain-in-the-neck. Or could it be a telling proof that the second/third-generation rich are really past hopes for integrity and humility? Since the film bifurcates into two alternate narratives with a time-span of over 60 years, it presents Garson a full-scale chance to act from adolescence to senility, although she is consistently pleasant to watch and impressively dignified in the latter period, her rigid posture can never pass off as a woman in her eighties no matter how much effort exerted from the make-up division. Yet, audience can easily side with her character because of what she represents - a wife with a perfect sense of propriety and a woman with sublime wisdom. As the film's title infers, co-star Pidgeon dutifully retreats to a second tier and downplays Major's volatility and vainglory.Garson is nominated with an Oscar and so is Ms. Moorehead, probably in her most opulent attire, her Aspasia is even much more laudable in handling the delicate issues of the rivalry among women or in a more literal sentence, how to co-exist with the wife of the man you love without hating each other's guts. Kellaway, Arnold and Birell (who plays Lady Nora Ebbsworth, a good sport in playing hostess) are all fittingly memorable, Garnett, a steady hand in orchestrating a character-driven centerpiece with grandeur and style, and so is Bronislau Kaper's mellow escorting score for a two-hour chronicle in the bygone era.

raskimono This alakin movie to the Little Foxes studies a family that is essentially no-good, a bunch of mama's boy's that have never toiled for anything in their lives and are thus extremely ungrateful and selfish. Garson wearing a wig and old Hollywood stars as the matriach of this American dynasty. The plot is jump-started as the family daughter intends to get married but there is a secret which her beau has and intends to tell. This ingot might just kill their chance for marriage and happiness. As it involves financial ruin, it causes an assemblage of the remaining members of this family. Here the flashbacks begin that tells the story of the dead Patriach and the matriarch of this family, how they met at an old dingy coal town, their marriage, pits and falls and always in all these scenes Garson luminence is assured. It is said that the writer of the book so loved this adaptation and told the director Tay garnett so. But one can't avoid the fact, that in my post-TV movie of the week eyes, this movie would have made a good mini-series in the eighties. And it feels it. The ending is a good old smacking of American entreprenial values and greed. I particularly remember a scene where Walter Pidgeon promises to crush everybody who refused to show up for a dinner party. It feels like a scene out Of Kane and Abel, a book that was turned into a well-received mini-series in the eighties. Like I said, that's what it is.

reelguy2 This superficial, ultra-glossy family saga features an outstanding cast, but like so many MGM efforts, that does not a good film make. Garson is unconvincing in her scenes as the aged matriarch, and her usual warmth is missing in one crucial scene: The maid has just told Agnes Moorehead how Mrs. Parkington is still, after a a year, despondent over the death of her son, when we see Garson, pouting like a young girl who's been told to get off the telephone.Walter Pigeon, however, is quite good in a rare role as a less than perfect gentleman. Overall, solid story telling. But is the story worth telling?

Pat-54 Greer Garson is given the chance to age on screen from a penniless young woman to multi-millionaire dowager in her 80's. The script is rather uneven, but the screen team of Greer Garson and Walter Pidgeon is always a winner. Miss Garson received yet another Academy Award nomination (her fifth) for her performance.