The Five Best Greer Garson Performances

As Paula in Random Harvest.

1. Random Harvest - At the end of World War I, an entertainer named Paula (Greer Gardson) falls in love with a amnesiac known only as Smithy (Ronald Colman). They marry, have a child, and live blissfully in the English countryside. Then one day, Smithy journeys alone to Liverpool and is struck by a taxi. When he awakes, he remembers his life as the affluent Charles Rainer--but he has forgotten his life as Smithy. Years later, he hires Paula--still not knowing who she is--to work for him. Greer Garson is brilliant as a woman who spends every day with the love of her life, but never reveals her identity. It's a poignant performance made all the more powerful because Garson makes Paula a strong, independent woman. The impact of the final scene rests solely on Garson's shoulders and she pulls it off with aplomb.

2. Pride and Prejudice - Greer Garson was 36-years-old when she played Jane Austen's plucky 20-year-old heroine Elizabeth Bennett. It's something I notice during the opening frames of Pride and Prejudice (1940)--and then totally forget. That's because Garson finds the strength, intelligence, and playful wit in Elizabeth, making this adaptation one of my favorite ones of Austen's classic. It helps, too, that she develops such delightful chemistry with Laurence Olivier's exceptionally brooding Mr. Darcy.

Greer Garson and Walter Pigeon.

3. Mrs. Miniver - I suspect if you polled classic movie fans about Greer Garson's best performances, the number one answer would be her portrayal of Kay Miniver. There is no doubt that she shines as the mother that holds a British family together as World War II brings danger, damage, and death into their lives. Her efforts earned her the Best Actress Oscar in 1943 (her only one to go along with six other nominations). She reprised the role of Kay Miniver in The Miniver Story in 1950.

4. Goodbye, Mr. Chips - In her first role on the big screen, Greer Garson received an Oscar nomination opposite Robert Donat in this adaptation of James Hilton's bestseller. She plays the effervescent Kathy, who transforms a shy schoolmaster into a beloved institution at a British boys' school. Amazingly, Garson had difficulty transitioning from the stage to film, finding the process of shooting scenes out of order disorienting. She relied on co-stars Robert Donat and Paul Henreid for support and advice. Her lack of confidence is not apparent on the screen and her performance transformed her into a star overnight.

Greer Garson and Errol Flynn.

5. That Forsyte Woman - This screen adaptation of John Galsworthy's The Man of Property, the first book in his Forsyte Saga, may seem like an odd choice. The film is not remembered fondly nor admired by Galsworthy's readers. Even Greer Garson noted that it "wasn't much," but was a lot of fun for the cast and crew. However, I think she underestimates her performance as Irene Heron, a Victorian woman who marries a "man of property" whom she does not love. When she later falls in love with an architect, her affair sets off a series of dramatic, and tragic, events. The role of Irene is a difficult one since initially the character elicits little audience sympathy. However, the beauty of Garson's performance is that she finds the "truth" in Irene--and brings out the best in Errol Flynn, who is quite effective in a rare serious role as her possessive husband. She was impressed enough with Flynn to write the foreward to a book about his films.

Honorable Mentions:  Mrs. Parkington, Sunrise at Campobello (as Eleanor Roosevelt); and Blossoms in the Dust.

Debbie Reynolds as The Singing Nun

Debbie Reynolds in the title role.

In 1963, a Belgian nun named Sœur Sourire--also known as The Singing Nun--had a worldwide hit record with the song "Dominque." Even though the lyrics were in French, the song went to #1 on the Billboard Hot 100 chart in the U.S. It's no surprise that this amazing feat attracted the attention of Hollywood filmmakers. Thus, in 1966, MGM released The Singing Nun, which starred Debbie Reynolds as a young nun very loosely based on Sœur Sourire.

The film opens with Sister Ann (Reynolds) arriving at Samaritan House, which is located in a struggling community in Brussels. Sister Ann composes and sings music, accompanying herself on guitar. Her talents immediately attract the attention of Father Clementi (Ricardo Montalban), who believes her faith-inspired music can bring comfort to millions. With the church's approval, he convinces a record executive (Chad Everett) to make an album with Sister Ann. (It turns out that the executive studied music with Sister Ann prior to her conversion.)

Katharine Ross.

Meanwhile, Sister Ann has become involved with a motherless little boy whose unemployed father is an alcoholic and whose older sister (Katharine Ross) makes money by posing for risque photos. As her music fame grows, Sister Ann struggles with her own success--especially when a tragedy strikes close to her heart.

It's a flimsy plot for a 97-minute movie and The Singing Nun relies on Debbie Reynolds' charm and musical talents to carry the day. There are some good tunes, especially an English-language version of "Dominque" as well as a boisterous rendition of "Brother John" (which was written by Randy Sparks, founder of The New Christy Minstrels). However, the subplot about the little boy and his family lacks interest, likely because it feels manufactured solely to tug at the heart strings.

Ricardo Montalban.

The Singing Nun boasts an impressive supporting cast, but none of them have much to do except for Ricardo Montalban. That includes Greer Garson as the Mother Prioress and Agnes Moorehead and Juanita Moore as two of Sister Ann's fellow nuns. On the plus side, Ed Sullivan appears as himself in one of the film's better scenes in which Sister Ann records a song for his popular show.

The real-life story of Sœur Sourire would have made a far more interesting film--though not the family film that MGM wanted. As Jeannine Deckers, she left the convent and continued to record music, although her former music company would not allow her to use the names Sœur Sourire or The Singing Nun. She found little success, eventually recording a disco version of "Dominique" in 1982. Jeannine Deckers and a close friend committed suicide in 1985; she was 51.

As for The Singing Nun, it was a modest hit, finishing #23 at the boxoffice in 1966. Director Henry Koster has said that the production wasn't a pleasant one with star Debbie Reynolds and producer John Beck clashing frequently. It turned out to be Koster's last film, following an impressive career that included The Bishop's Wife, Harvey, and Come to the Stable.

Here's a clip of Debbie Reynolds singing "Brother John," courtesy of our YouTube Channel:

MGM's Pride and Prejudice (1940)

Greer Garson and Laurence Oliver.

After viewing MGM's 1940 adaptation of Jane Austen's Pride and Prejudice, comparisons with the BBC's popular 1995 miniseries are inevitable. That's not altogether fair to the 1940 version which is much shorter than the later miniseries (two hours vs. six hours). However, the simple fact remains that MGM's Pride and Prejudice is now regarded as a very good film while the BBC version instantly became a pop culture phenomenon that still boasts a loyal following.

Garson as Elizabeth.

For those unfamiliar with Austen's 1813 classic, the plot centers around the relationship between the wealthy, snobby Mr. Darcy and the headstrong Elizabeth Bennett. She comes from a modest family (though they still have a butler) headed by the sensible Mr. Bennett. Unfortunately, Mr. Bennett does not have a male heir, meaning that the family's home will go to a clergyman named Mr. Collins upon Mr. Bennett's death. Thus, Mrs. Bennett is focused on getting her five daughters married off to gentlemen with ample financial means.

Elizabeth overhears Darcy.

To his surprise, Darcy (Laurence Olivier) finds himself attracted to the witty, elegant Elizabeth (Greer Garson) at a country ball. Yet, that doesn't dissuade him from expressing his contempt for other members of the Bennett family to a close friend--a conversation that Elizabeth overhears. As a result, Elizabeth rebuffs Darcy's invitation to dance, even though she is also interested in him. Thus begins a series of advances and retreats in the slowly-developing romance between the two.

For me, the joy of Austen's novel (and all its adaptations) is watching the feelings of Elizabeth and Darcy evolve as the plot progresses. Elizabeth knows that Darcy's assessment of her family is mostly accurate. Her mother is overwrought and obvious in her marital intentions for her daughters. Sister Mary insists on singing in public despite being tone deaf. Younger sisters Lydia and Kitty are just plain silly, chasing after army officers and getting tipsy at parties. And yet, it's one thing to acknowledge the shortfalls of one's family and another to watch as a third party scoffs at them. For his part, once he realizes that he loves Elizabeth, Darcy sets out to prove his worthiness to her--even though she has made it clear that she could never love him.

Olivier as Mr. Darcy.

Greer Garson and Laurence Olivier fare well as Elizabeth and Mr. Darcy, even though both are too old for the parts (Elizabeth is supposed to be 20 and Greer was then 36). It's impossible not to compare them with Jennifer Ehle and Colin Firth who played the couple in the BBC miniseries. Garson's performance brims with intelligence and charm, but its lacks the introspection that Ehle (born in my hometown of Winston-Salem, NC) brought to it. Likewise, Olivier makes a memorable Darcy, but falls short of Firth in displaying his character's internal struggles (especially during my favorite scene--Darcy's first proposal to Elizabeth).

Melville Cooper as Mr. Collins.

In my opinion, acting honors in the MGM film go to the always reliable Edmund Gwenn as Elizabeth's father, Melville Cooper as the pretentious Mr. Collins (who constantly babbles about his "esteemed patroness Lady Catherine de Bourgh"), and Frieda Inescort as the haughty Ms. Bingley.

Acclaimed British noveliest Aldous Huxley (Brave New World) co-wrote the screenplay. However, credit for the excellent abridgment of Austen's novel probably belongs to Helen Jerome. Her 1935 Broadway play served as the basis for the MGM film. Incidentally, that stage play starred British actress Adrianne Allen as Elizabeth. Ms. Allen was then married to Raymond Massey.

A recent viewing of the 1940 film reminded me, though, how much of the dialogue was penned by Jane Austen. It's the author and her vivid characters, lively dialogue, and understanding of human nature that makes Pride and Prejudice a true classic. Cast it with good actors and I don't think one could go wrong--whether it's this version, the BBC one, or the 2005 adaptation with Keira Knightley and Matthew Macfadyen.

Classic Movies About Amnesia

Garbo ponders her identity.

A plot device staple, despite its unlikely real-life occurrence, amnesia has shown no favoritism toward any particular genre nor sex. Screen legend Greta Garbo made it fashionable for women to forget their identities in 1932's As You Desire Me, thus inspiring other actresses to ponder “Who am I?”  A sample roster spans five decades and includes Jennifer Jones (Love Letters), Ava Gardner (Singapore), Karen Valentine (Jane Doe), and Lindsay Wagner (Stranger in My Bed).  

Peck and Ingrid Bergman in Spellbound.

Males have proven to be equally forgetful, especially William Powell and Gregory Peck, both of whom suffered two bouts of amnesia (Powell in I Love You Again and Crossroads, Peck in Spellbound and Mirage). Greer Garson, who dealt with Ronald Colman's loss of memory in Random Harvest (1942), experienced it herself earlier in Remember? (1939). In an unusual plot twist, she and Robert Taylor played a bickering couple who take a potion that causes amnesia and then wind up falling in love again. Amnesia has also separated lovers in high-class soap operas like Random Harvest, Love Letters, and Singapore.

A confused Garner in Mister Buddwing.

It's hard to remember many amnesiac comedies, although Desperately Seeking Susan and The Road to Hong Kong spring to mind with little difficulty. The most interesting amnesiac plots have appeared in mysteries and espionage thrillers. Gregory Peck played the new head of an asylum who turns out to be an impostor with amnesia in Hitchcock's Spellbound (1945). Warner Baxter's The Crime Doctor was a sleuthing psychologist, who had been a master criminal before being reformed by amnesia. Unethical psychiatrist Tony Perkins tried to manipulate amnesiac killer Charles Bronson into murdering his wife's lover in the 1971 thriller Someone Behind the Door. James Garner, unable to remember his name, saw a Budweiser truck and an airplane and decided to call himself Mister Buddwing (1966). It was certainly one of the more commercial films of its time.

The article was reprinted with the authors' permission from the Encyclopedia of Films Themes, Settings and Series.

Fred MacMurray and Alligators Can't Save "The Happiest Millionaire"

Fred MacMurray as the title character.

The most baffling thing about The Happiest Millionaire is its intended audience. It's hard to imagine many youngsters sitting through a 172-minute musical (though there were multiple versions, including a "shorter" 116-minute edition). The leading characters are a middle-aged millionaire and his 20-year-old daughter. And the plot is basically a love story with some eccentric characters added for flavor. Ultimately, The Happiest Millionaire is too childish for grown-ups and too grown up for children.

Steele dancing in the streets.

Despite such challenges, the film gets off to a perky start with Tommy Steele singing and dancing to "Fortuosity"  along the streets of 1916 Philadelphia. Steele plays John Lawless, an Irish immigrant fresh off the ship, who hopes to work as a butler for the wealthy Biddle family. What John doesn't know is that the Biddles, especially father Anthony J. Drexel Biddle (Fred MacMurray), are a bit eccentric. Mr. Biddle keeps pet alligators in the conservatory and teaches bible classes that incorporate boxing. Indeed, all the Biddle children--to include the only daughter, Cordy--are well versed in the pugilistic arts.

Warren and Davidson duet.

Cordy's aunt suggests that the young woman attend the Wingfield School for Girls to learn the finer social graces. Surprisingly, Cordy (Lesley Ann Warren) agrees, much to her doting father's dismay. While attending a dance, Cordy meets Angier "Angie" Buchanan Duke (John Davidson) and it's love at first sight. However, it quickly becomes apparent that neither set of parents approve of a possible marriage between their children.

On paper, The Happiest Millionaire must have resembled a boxoffice winner. MacMurray, who was still popular thanks to My Three Sons, had appeared in some of Disney's most successful live-action films (e.g., The Absent-Minded Professor, The Shaggy Dog). Newcomer Warren had charmed television viewers in the lead role in Rodgers and Hammerstein's Cinderella. Greer Garson and Geraldine Page headed an impressive supporting cast. And composers Richard and Robert Sherman were just three years removed from their monster hit Mary Poppins.

Steele dancing with alligator.

Alas, a strong pedigree doesn't result in a good movie. Yes, there are a handful of inspired musical numbers: the previously-mentioned "Fortuosity"; Warren and Davidson's pretty duet "Are We Dancing?"; and Davidson and Steele in a barroom production number called "Let's Have a Drink on It." However, for most of its lumbering length, The Happiest Millionaire vainly tries to turn on the charm. Steele, who can be too energetic (e.g., Finian's Rainbow), tries to inject life into the proceedings, often talking to the audience or offering a sly wink. Unfortunately, his butler character fades to the background for most of the film.

A colorful look is one of the film's virtues.

From a production standpoint, The Happiest Millionaire offers a feast for the eyes. It earned an Oscar nomination for its costumes, but equally impressive are the elaborate sets, the recreated period look, and the bright autumn colors.

Interestingly, there really was an Anthony J. Drexel Biddle, who was indeed an eccentric Philadelphia millionaire interested in boxing and alligators. And, as portrayed in The Happiest Millionaire, his daughter Cordelia married Angier Buchanan Duke (whose family established an endowment to Duke University). In 1955, Cordelia co-wrote a biography about her father, which was adapted as a play starring Walter Pidgeon. Apparently, no live alligators were in it!