AllMovie

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.