Very very predictable, including the post credit scene !!!

Slow pace in the most part of the movie.

Excellent, Without a doubt!!

The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

The London Blitz provided an ironic backdrop to the film not intended in the 1905 play.In 1905, Shaw may have intended an anti-armaments story; but with war torn London as a backdrop, the 1941 movie came something different. That Armaments Business is what provides sustenance for lots of people--housing, food, clothing. And certainly the moral issue of working in Armaments for sustenance also meant the survival of Britain. Working in an American plant devoted to creating nuclear armament brings not the same intensity.We all might decry the Capitalist and Capitalism. Before Rockefeller, whale oil cost $5/gallon; after Rockefeller, oil from oil wells cost 25cents/gallon. In 1900 Rockefeller was the most hated man in America, by 1940 he was one of the most beloved by virtue of his extensive philanthropy.Shaw in 1905 could not have anticipated either World War that would bring so much devastation to the physical and psychological landscape of Europe. And yet by 1941, when the film was made, that devastation could not have been lost on Shaw, even as it provides a certain backdrop to several scenes in the film. In the movie, it appears by the end, that Shaw is praising the Armaments industry for the good of capitalism sustaining the lives of individuals, and the good of Amazements in protecting Britain (DEMOCRACY) from the Nazi maw. A conclusion Major Barbara Undershaft herself comes to realize.This review sounds the heavy knell of propaganda message, and yet the film unfolds with a deft drama of a drawing room comedy about love. Even the last half hour, with stock footage of production being overseen by Cusins, Undershaft and his family, the film is brisk and almost sprightly despite the heaviness of physical abuse, a heaviness of abuse which simply underscores the abuse of Germany against its European neighbors.The film worked because of its genius.

I'm surprised that this wonderful classic from the British cinema ever got made at the time it did. Not with having one of the major characters of the play being a munitions manufacturer. Not so very long ago munitions makers were a despised lot of people and in Major Barbara, Robert Morley's character of Edward Undershaft is admirable only for the realistic way he views life.People in his profession were characterized as 'merchants of death' and were held in low repute until they were needed when the United Kingdom was fighting for its survival again. Morley's Undershaft does not redeem the name of the profession.Major Barbara was first presented on the London stage in 1905 and waited 10 years before it made its Broadway debut in 1915. Europe had a general post Napoleonic peace for nearly 100 years and war was unthinkable. The arms merchants such as they were busily made their product and the countries armed more and more. But it was thought that the guns might be used in their various colonial endeavors. When they started getting used against each other in a World War, pacifism became very popular.But in Major Barbara its author George Bernard Shaw had a different idea in mind. I think his chief reason for writing the play was to illustrate one of Karl Marx's tenets that religion was the opiate of the masses. Shaw was a Fabian socialist and wanted to see socialism come to the United Kingdom by peaceful means. But he wouldn't have disagreed with that part of Marx's diagnosis about the ills of society. He lived until 1950 and saw the post war Labour government do much of what he advocated back in the day. One wonders what he would think now of British, indeed western society in general.Morley who has been estranged from his family for years returns and finds his eldest daughter Barbara played by Wendy Hiller a Salvation Army worker in the London slums. She thinks of herself as repudiating her hated father's evil works by doing good. He finds the idea of visiting her at the mission and showing her the error of her ways as he views it.Religion then as now needs money, why are the televangelists out there begging for your currency to keep their work afloat? The Salvation Army does do a limited amount of good with their soup kitchens and blandishments against indulging too much in the vices. But what Shaw and his fellow Socialists would argue is that without a real living wage and the workers having some say in production, all this does is just keep the workers at bay with dreams of a perfect life in the next world no matter how bad this world might be for them. Major Barbara is one of Shaw's greatest polemical work and in the characters of Undershaft and Barbara he pits the material against the spiritual and the material wins in a knockout. This production has some really good casting beginning with Hiller and Morley. Rex Harrison gets one of his early cinema roles as scholar Adolphus Cusins who Morley also bends to his point of view and uses the mutual attraction of Hiller and Harrison for each other for his own ends. Deborah Kerr makes her screen debut as an innocent new salvation army lass and Emlyn Williams and Robert Newton as a pair of working class types who work the system so to speak.Major Barbara is a play set firmly in its time, I doubt it could be updated, mainly because we've passed from the Industrial Age to the Information Age because of the computer. At least that's what the sociologists will tell you. New problems have arisen and for myself I don't think the organized labor movement has quite got a handle on them. Still this fine production raises questions that we should all think seriously about.

No doubt influenced by the success of Pygmalion producer/director Gaby Pascal followed up three years later with a second GBS polemic masquerading as a play, in this case that old chestnut God versus Mammon best out of three, Major Barbara. Wendy Hiller had scored a personal triumph as Eliza Doolittle in Pygmalion so here she is again as the eponymous Salvation Army lass whose father happens conveniently to be a munitions manufacturer. One of the problems with Shaw in this vein is that he tended to animate cyphers rather than create flesh-and-blood characters and here a group of actors from stage and screen do what they can with what they are given to work with. There's little discernible chemistry between Hiller and Rex Harrison, Robert Morley pays homage to Charles Laughton, Emlyn Williams phones it in and it's left to stage actress Marie Lohr to provide a touch of class. Elsewhere Bobby Newton offers a prototype Bill Sikes (possibly encouraged by Editor David Lean who also gets a co-director credit. Stanley Holloway gets a strangely long opening sequence for an uncredited role and in her film debut Deborah Kerr gives little indication of the durable career to come. A curio more than anything else.

"Major Barbara (1941: **1/2). A lot of talent has gone into this film version of Shaw's play about a Salvation Army lass who is disillusioned when her Mission accepts a fat check from her father, a wealthy munitions manufacturer of wartime supplies. I happened to have the play on hand and referred back to it as I wasn't sure Shaw's meanings survived the rather tedious verbosity of the movie, which sags despite a great cast (Wendy Hiller, Rex Harrison, Robert Morley, etc.). Shaw seems to be saying that when religion and capitalism fight it out, capitalism will always win as it provides jobs and shelter for the poor, whereas all religion can do is to concentrate on saving their souls. To Shaw, a man's soul is best saved when his belly is full and his future is secured. Ultimately, the girl decides it's better to labor in her father's vast factory, where she can save souls while working within the system. I believe Shaw was something of a Utopian Socialist. He called this play a "Discussion in Four Acts" and that's pretty much what the movie seemed to be.