The Bishop's Wife - 1947

The Bishop’s Wife

A Tale of Love, Faith, and the Quiet Miracles of Everyday Life

The Bishop's Wife (1947), directed by Henry Koster, is a heartwarming romantic fantasy about Bishop Henry Brougham, who, overwhelmed by his efforts to build a grand cathedral, neglects his wife, Julia.

In response to Henry's prayer for guidance, the charming angel Dudley (Cary Grant) arrives to help, subtly rekindling love and joy in the Bishop's household.

The film's blend of humor, fantasy, and poignant themes of faith and human connection resonated with audiences, making it a holiday classic.

Related

Henry Koster

Cary Grant

Loretta Young

David Niven

Gladys Cooper

James Gleason

Monty Woolley

Elsa Lanchester

The Bishop’s Wife – 1947

Summary

The Bishop’s Wife (1947) is a heartwarming romantic fantasy film centered around themes of faith, love, and rediscovery of what truly matters in life. Directed by Henry Koster, the film weaves a tale of spiritual crisis, divine intervention, and human relationships.

The story begins with Bishop Henry Brougham (David Niven), a man deeply invested in the construction of a grand new cathedral. His motivation, however, is more driven by ambition and his desire to leave a lasting legacy than by spiritual guidance. This causes him to lose focus on his family, especially his relationship with his loving and devoted wife, Julia (Loretta Young). The Bishop has grown distant and preoccupied, obsessed with pleasing a wealthy, controlling benefactor, Mrs. Hamilton (Gladys Cooper), who holds the key to funding the cathedral.

Feeling overwhelmed by his struggles, Henry prays for guidance. In response, an angel named Dudley (Cary Grant) is sent to earth to help him. When Dudley arrives, he is suave, charming, and unassuming. However, rather than assisting Henry directly with his cathedral, Dudley sets out to help in more subtle ways by rekindling the love and joy in Henry’s personal life.

As Dudley interacts with the Bishop’s family, he quickly becomes close to Julia, who finds herself enchanted by his kindness and attentiveness—traits that Henry has neglected in his obsession with his work. The angel also helps others in their community, including a skeptical Professor Wutheridge (Monty Woolley), inspiring people to appreciate life’s simple, yet profound, moments. Dudley's presence brings warmth to those around him, and his efforts start to remind everyone, especially Julia, of the joy of living and the importance of love and family.

Despite his noble intentions, Dudley's growing affection for Julia creates tension, especially for Henry, who becomes jealous and frustrated. The Bishop feels increasingly insecure as Dudley brings more joy to his household and seems to effortlessly solve problems he has been struggling with. As Julia and Dudley spend more time together, the Bishop begins to realize how much he has taken his wife and family for granted.

In the film’s climax, Dudley ultimately helps Henry understand that the true purpose of his life is not tied to the cathedral or its grandeur, but to the people he loves. The Bishop, finally realizing the importance of his family and spiritual duties, reconnects with Julia. Dudley, having accomplished his mission, prepares to leave. Before departing, he wipes the memory of his time on earth from everyone’s minds, leaving behind only the effects of his work, the love he has restored, and the deeper faith he has inspired.

Analysis

The Bishop’s Wife is a beautiful, reflective tale that blends light fantasy with real human struggles. On the surface, the film appears to be about a Bishop facing a professional challenge, but at its core, it is a story of love, faith, and the rediscovery of true values. Each character in the film represents different facets of life, spirituality, and human connection.

• The character of Henry Brougham symbolizes the tension between worldly ambition and spiritual fulfillment. His obsession with building a grand cathedral distracts him from the immediate, meaningful aspects of his life: his relationship with his wife, family, and community. His journey in the film is one of humility, where he learns that personal achievements and accolades are meaningless without love and personal relationships.
• Julia Brougham is the emotional heart of the story. Her character represents the longing for connection and the sense of being forgotten by a loved one. She’s caught between her love for her husband and her emotional response to Dudley, the angel who makes her feel seen and valued once again. Her relationship with Dudley does not develop into a romantic affair but remains a crucial element in the story, highlighting the emotional distance that had grown between her and Henry.
• Dudley, the angel, serves as the catalyst for change. Cary Grant’s portrayal of Dudley is nuanced, balancing charm with a sense of melancholy. Though he is an ethereal figure sent to intervene, his character is also deeply human, experiencing feelings of attachment and affection. Dudley’s role is to restore balance and perspective, not through grand gestures, but by helping people appreciate the beauty in their lives.

The movie subtly incorporates themes of spirituality, where divine intervention does not manifest in dramatic, miraculous ways, but rather through the quiet, everyday moments that remind people of what truly matters. The film’s magic lies in its simple message: that love, kindness, and relationships are the true cornerstones of a meaningful life, not grand structures or legacy-building achievements.

• The Bishop's obsession with the cathedral can be seen as a metaphor for human ambition that often distances people from their real priorities. The film suggests that spiritual fulfillment comes not from material accomplishments but from nurturing personal bonds and maintaining one’s moral compass.
• The cinematography by Gregg Toland enhances the film’s ethereal quality, especially in the scenes where Dudley’s otherworldliness is subtly hinted at—like when he casually alters events or arranges objects without anyone noticing. The light, warm glow that accompanies Dudley gives a divine and gentle feel to his presence, in contrast to the more somber, cold atmosphere that surrounds Henry’s work.
• Hugo Friedhofer's score complements the film's tone with its orchestral warmth, adding to the overall atmosphere of magic, love, and serenity that pervades the narrative.

In conclusion, The Bishop's Wife is not just a holiday film but a timeless reminder about the importance of faith, love, and human connection. Its fantasy elements add charm, while its deeper themes resonate with universal experiences—making it both an entertaining and thought-provoking movie. The message that emerges from the film is clear: love and compassion are the true building blocks of life, more important than any monument we could erect.

Classic Trailer from The Bishop's Wife

Full Cast

·  Cary Grant as Dudley

·  Loretta Young as Julia Brougham

·  David Niven as Bishop Henry Brougham

·  Monty Woolley as Professor Wutheridge

·  James Gleason as Sylvester

·  Gladys Cooper as Mrs. Hamilton

·  Elsa Lanchester as Matilda

·  Sara Haden as Mildred Cassaway

·  Karolyn Grimes as Debby Brougham

·  Tito Vuolo as Maggenti (the Italian restaurant owner)

·  Regis Toomey as Mr. Miller

·  Sarah Edwards as Mrs. Duffy

·  Margaret McWade as Mrs. Ward

·  Anne O'Neal as Mrs. Hodge

·  Ben Erway as Mr. Perry

Henry Koster’s Direction

Henry Koster’s direction of The Bishop’s Wife (1947) is a masterclass in blending fantasy with heartfelt human drama, and his subtle yet meticulous approach plays a critical role in shaping the film's emotional depth and lasting appeal. Koster, known for his gentle touch and ability to draw warmth from his actors, manages to create a balance between the film’s whimsical, almost magical elements, and its exploration of complex human emotions.

Key Aspects of Koster’s Direction:

• Tone and Atmosphere: Koster deftly maintains a delicate, uplifting tone throughout the film. The movie deals with heavy themes like spiritual crisis, emotional neglect, and the tension between material ambition and personal relationships. Despite this, Koster manages to keep the atmosphere light and comforting, emphasizing hope, love, and human connection. His approach steers the movie away from becoming overly sentimental or melancholic, allowing it to retain its warmth and gentle humor.

The film’s fantasy elements, particularly through the character of Dudley, are handled in a restrained and graceful manner. Dudley’s angelic powers are subtly shown—never overly exaggerated or distracting. Koster directs these moments with a sense of wonder but keeps them grounded, enhancing the magical realism without making it feel unnatural. For example, Dudley’s ability to rearrange objects or stop time happens quietly, in passing, underscoring his divine nature without making it a spectacle.

• Character Development and Relationships: One of Koster’s strengths as a director is his sensitivity to the emotional dynamics between characters, particularly within the central triangle of Henry, Julia, and Dudley. He carefully paces the development of their relationships, ensuring that each character’s emotional journey feels authentic and earned. The shift in Henry's feelings—from distant and preoccupied to jealous and, ultimately, renewed in his love for Julia—unfolds naturally under Koster's direction.

Similarly, Koster crafts Dudley and Julia's interactions with great care, imbuing their relationship with a deep emotional connection without turning it into a conventional romance. This fine line between Dudley's celestial role and his growing affection for Julia is handled with nuance, allowing viewers to empathize with Dudley’s quiet longing while still understanding that his ultimate mission is to help, not interfere in human affairs.

Koster's direction of the supporting cast is equally impressive. Characters like Professor Wutheridge, Mrs. Hamilton, and Sylvester, though not central to the plot, are given moments of personal reflection and development, adding texture to the world of the film and giving the community a lived-in feel. This attention to secondary characters also reinforces the film’s themes of interconnectedness and the importance of relationships in everyday life.

• Pacing and Structure: The pacing of The Bishop’s Wife is another highlight of Koster’s direction. He allows the story to unfold leisurely, giving the characters time to breathe and develop naturally. While some modern audiences might view the pacing as slow, it serves the film’s contemplative and tender mood. Koster avoids rushing the narrative, letting moments of quiet reflection and small, meaningful gestures drive the emotional core of the story.

The film's structure, alternating between scenes of light humor, poignant interactions, and more fantastical elements, creates a rhythm that keeps the audience engaged. Koster gives each of these aspects space to shine without allowing one to overpower the others. The climactic moments—such as Henry’s realization of his misplaced priorities or Dudley’s eventual departure—are allowed to resonate deeply because Koster has spent time building to them carefully and thoughtfully.

• Visual Storytelling and Cinematic Choices: Koster’s collaboration with legendary cinematographer Gregg Toland contributes significantly to the film’s visual appeal. Koster’s direction benefits from Toland’s ability to use deep-focus photography, creating scenes where the depth of field allows multiple layers of action to unfold simultaneously. This visual technique mirrors the film’s theme of interconnectedness, where the actions of one character ripple through to affect others.

Koster also uses light and shadow to underscore the emotional beats of the film. For instance, Dudley often appears bathed in a soft, glowing light, emphasizing his otherworldly nature without being overly obvious. In contrast, Henry’s scenes at the cathedral or in his study are darker and more somber, visually reflecting his inner turmoil. This visual contrast highlights the emotional distance between Henry and his family, which Koster slowly closes as the story progresses.

• Subtle Humor and Charm: Koster infuses the film with a quiet charm and wit that adds a layer of warmth to the story. The humor never feels forced or out of place; instead, it arises naturally from the characters’ interactions. Dudley’s calm and confident demeanor often leads to amusing moments, especially when he uses his angelic powers in understated ways, such as arranging decorations or subtly manipulating events to help people. Koster’s direction ensures that these moments of lightness do not undermine the film’s deeper emotional themes but rather complement them, providing a sense of balance.
   
• Thematic Depth: One of the strongest elements of Koster’s direction is his ability to convey the film’s themes with subtlety and grace. At its heart, The Bishop’s Wife is about love, faith, and human connection, but Koster never allows these themes to become preachy or heavy-handed. Instead, he trusts the audience to pick up on the deeper meanings through the characters’ experiences and interactions.

Koster directs with a light touch, ensuring that the spiritual elements are integrated naturally into the narrative. Dudley’s role as an angel is not to perform miracles in the traditional sense but to guide people toward personal revelations about what truly matters in their lives. Koster directs these moments of revelation—such as Henry’s realization of his misplaced priorities or Julia’s rediscovery of her love for her husband—with a sincerity that resonates without feeling forced.

Conclusion:

Henry Koster’s direction of The Bishop’s Wife is marked by its emotional intelligence, subtle fantasy, and human warmth. His ability to handle delicate themes with a gentle touch, along with his attention to character dynamics and visual storytelling, elevates the film from a simple holiday tale into a timeless exploration of love, faith, and the rediscovery of joy. Koster’s direction invites viewers to engage deeply with the characters’ journeys and leaves them with a sense of hope and reflection that lingers long after the credits roll.

Masterful Performance of Cary Grant

Cary Grant’s performance as Dudley in The Bishop’s Wife (1947) is a masterful blend of charm, grace, and emotional subtlety, showcasing his versatility as an actor. Known for his effortless charisma and debonair screen presence, Grant brings a lightness and warmth to the character of Dudley, an angel sent to help a struggling bishop and his family. However, beneath this surface-level charm lies a nuanced performance that balances Dudley's divine wisdom with human-like feelings of affection, making the character deeply relatable and complex.

Key Aspects of Cary Grant’s Performance:

• Charm and Ease: Cary Grant’s portrayal of Dudley is defined by an effortless charm, making him immediately captivating from his first appearance on screen. Grant’s physical grace and poise suit the character perfectly, as Dudley is meant to embody the idea of a benevolent, otherworldly being. Whether he is casually manipulating events—such as adjusting the Christmas tree ornaments or creating a snowball fight out of thin air—Grant maintains a demeanor of ease and control that gives Dudley an ethereal, magical quality without seeming overtly supernatural.

His ability to make Dudley both otherworldly and approachable is one of the highlights of his performance. Dudley is never distant or aloof, despite his angelic status. Instead, Grant plays him as a deeply empathetic figure who is genuinely invested in the lives of the people he’s sent to help. This warmth makes it easy for the audience—and the characters in the film—to be drawn to Dudley, especially as he quietly improves their lives in subtle ways.

• Humor and Wit: One of Grant’s greatest strengths as an actor is his comedic timing, and in The Bishop’s Wife, he uses humor to great effect. Grant infuses Dudley with a gentle, understated wit, adding a layer of playfulness to the character. For example, there are moments when Dudley, aware of his own divine powers, cheekily surprises people with small miracles—like stopping time to improve a situation or rearranging objects without anyone noticing.

Grant’s delivery is always calm and unassuming, making these moments feel lighthearted rather than overpowering. He’s never showy or self-congratulatory when Dudley uses his powers, which adds to the character’s likability. The humor is also often situational, coming from Dudley’s interactions with the human characters, such as his banter with the skeptical Professor Wutheridge or his gentle teasing of the bishop. Grant’s natural comedic instincts make Dudley’s charm even more endearing, and his ability to switch between serious moments and light humor gives the character depth.

• Emotional Nuance and Depth: While Grant’s portrayal of Dudley is filled with humor and charm, it is also deeply layered with emotional nuance. As the angel sent to guide the Bishop, Dudley is wise and perceptive, but there is a subtle vulnerability in Grant’s performance as well. Throughout the film, Dudley grows increasingly fond of Julia, the bishop’s wife, and this attraction is conveyed with remarkable delicacy.

Grant handles this emotional tension with great subtlety, ensuring that Dudley’s feelings for Julia never cross into inappropriate territory. Instead, his affection is portrayed as a quiet, bittersweet longing. Grant’s expressions and body language in these moments convey a sense of restraint and understanding, as Dudley knows he cannot become involved in human affairs beyond his mission. The softness in Grant’s gaze when he looks at Julia, or the slight hesitation in his voice when he speaks to her, reveals the complexity of Dudley’s feelings—he is both an angel with a divine purpose and a being capable of deep emotional connection.

This emotional complexity is most evident in the scenes where Dudley and Julia are alone together. Grant plays these moments with an understated intensity, suggesting that Dudley’s attraction is not just to Julia herself but to the human experience of love, which he, as an angel, cannot fully participate in. There’s a sense of wistfulness in his performance, as Dudley realizes that his role is to restore Julia’s happiness with Henry, not to pursue his own desires. Grant’s ability to convey this inner conflict without overplaying it adds a poignant layer to his performance.

• Graceful Physicality: Cary Grant’s physical presence in The Bishop’s Wife is another key element of his performance. He moves with an almost supernatural grace throughout the film, underscoring Dudley’s angelic nature. Whether he’s walking into a room, gesturing subtly to influence events, or engaging in everyday activities like ice skating with Julia, Grant’s fluid, confident movements suggest that Dudley exists on a different plane from the mortals around him.

This physicality is particularly effective in scenes where Dudley uses his powers. Grant’s understated movements—like a slight gesture to make a bottle of sherry pour itself or a casual hand wave to stop traffic—are performed with such calm confidence that they feel natural rather than fantastical. His gracefulness enhances the sense that Dudley is in full control of his environment, but without ever being overtly demonstrative or flashy.

• Balanced Performance with Co-Stars: Grant’s ability to complement the performances of his co-stars is another strength in his portrayal of Dudley. His scenes with Loretta Young (Julia) are filled with an unspoken emotional tension, and Grant plays off her innocence and warmth beautifully. Their chemistry is subtle yet palpable, creating a sense of connection without ever crossing into romance.

In his interactions with David Niven (Henry), Grant strikes a perfect balance between friendly guidance and gentle challenge. As Henry becomes more jealous of Dudley, Grant’s performance remains calm and composed, allowing the tension to come from Niven’s growing frustration. Grant never overplays Dudley’s superiority; instead, he lets Niven’s reactions build the conflict. This dynamic allows for a more layered portrayal of Henry’s insecurities while maintaining Dudley’s serene, almost omniscient demeanor.

His scenes with Monty Woolley (Professor Wutheridge) and the other supporting characters are equally well-played. Grant brings out the best in each of these interactions, allowing Dudley’s charm to influence and inspire those around him. His ability to shift between moments of light humor and deeper emotional resonance with each character ensures that the film remains engaging and varied in tone.

Cary Grant’s performance in The Bishop’s Wife is a delicate balancing act between light fantasy and grounded human emotion. He brings his signature charm and wit to the role of Dudley, creating an angelic figure who is both magical and deeply relatable. Grant's portrayal is marked by an emotional subtlety that allows the audience to see Dudley not just as a divine helper, but as a being who, despite his powers, experiences feelings of attachment, longing, and self-restraint. His performance elevates the film, making Dudley one of the most memorable and endearing characters in classic cinema.

Notable Movie Quotes from The Bishop’s Wife

Dudley (Cary Grant):
"The only people who grow old were born old to begin with."

This quote reflects Dudley’s perspective on life and age, emphasizing that a youthful spirit comes from within and that joy and enthusiasm are ageless qualities.

Dudley (Cary Grant):
"You have been given a great gift, Henry: the gift of love. Don’t throw it away."

Dudley says this to Bishop Henry, reminding him of the true value of love, which he has been neglecting in his pursuit of ambition and material success. It underscores the film’s central message that love and relationships are more important than grand achievements.

Dudley (Cary Grant):
"The world changes, but two things remain constant: truth and love."

This quote encapsulates the film’s belief in the enduring power of love and truth, even in a world that is constantly evolving. Dudley’s words reinforce the idea that some things—like the importance of human connection—are timeless.

Bishop Henry Brougham (David Niven):
"I was praying for a cathedral. Now I realize I should have been praying for guidance."

Henry admits this near the end of the film when he comes to understand that he has been misplacing his priorities. Instead of seeking personal glory through the construction of a grand cathedral, he realizes that what he truly needed was spiritual and emotional guidance.

Professor Wutheridge (Monty Woolley):
"An empty chair is not a tragedy. A man without hope, without faith, that is a tragedy."

This quote emphasizes the importance of faith and hope in life. The professor’s words are a reminder that even in loss or difficult circumstances, what matters most is the belief in something greater and the will to keep going.

Dudley (Cary Grant):
"Julia is the fountainhead of everything good and true in your life. And you’ve been neglecting her for a long time."

Dudley tells this to Henry, stressing that Julia’s love and presence in Henry’s life is far more important than the material success he has been chasing. It serves as a pivotal moment in the film where Henry starts to reflect on his personal life.

Mrs. Hamilton (Gladys Cooper):
"No cathedral was ever built to make man closer to God. Man is closest to God when he is closest to his fellow man."

This line from Mrs. Hamilton, the wealthy benefactor, speaks to the film’s overarching theme: that the true purpose of faith and religion is to foster human kindness and connection, not to build grand edifices.

Classic Scenes from the Movie

Dudley Rearranging the Christmas Tree:

• Scene Description: Early in the film, Dudley visits the Brougham home and is introduced to their Christmas tree, which Julia and her daughter, Debby, are decorating. Dudley, with his angelic powers, subtly rearranges the ornaments on the tree with a simple gesture, creating a perfectly decorated tree without anyone noticing how it was done.
• Significance: This scene showcases Dudley’s magical abilities, but more importantly, it symbolizes his role in quietly improving people’s lives in a way that seems effortless and natural. The Christmas tree becomes a visual metaphor for the idea that beauty and harmony can be restored with a gentle touch, reflecting the film’s overall theme of quiet, meaningful intervention.

Ice Skating Scene:

• Scene Description: In one of the film’s most famous sequences, Dudley takes Julia ice skating, along with Debby and Sylvester, the taxi driver. They arrive at an outdoor rink, and Dudley magically enhances their skating abilities, turning the outing into a fun and joyful experience, with Julia skating with ease and grace. They laugh and enjoy the time together, creating a light-hearted and freeing moment for Julia.
• Significance: This scene is a pivotal moment in the relationship between Dudley and Julia. It’s filled with warmth and charm, showing Dudley’s desire to bring joy back into Julia’s life. The carefree ice skating scene is a metaphor for letting go of burdens and embracing the simplicity of happiness. It also highlights the chemistry between Dudley and Julia, though it remains a pure, innocent connection.

Dudley Stops Time in the Professor’s Study:

• Scene Description: In a scene with Professor Wutheridge, Dudley stops time to make a point. As the professor and Dudley sit in conversation, the professor looks at his clock and is startled to find that time seems to have stopped altogether. Dudley explains calmly that it is sometimes necessary to stop and reflect, particularly when people are rushing toward the wrong goals in life.
• Significance: This scene serves as a symbolic pause in the narrative, allowing the characters and the audience to consider the deeper meaning of life. It reinforces the idea that material pursuits, like the cathedral Henry is so focused on, pale in comparison to the more important aspects of life, like love, family, and faith. Dudley’s ability to stop time also highlights his divine power, but it is used not for spectacle, but for introspection.

The Prayer Scene:

• Scene Description: Toward the end of the film, Bishop Henry delivers a moving Christmas Eve sermon that was inspired by Dudley. His prayer is simple yet profound, focusing on love, kindness, and the true meaning of Christmas. This marks a significant turning point for Henry, as he realizes what is truly important in life—his family, his faith, and the love he shares with Julia.
• Significance: This scene is one of the emotional climaxes of the film. It shows Henry’s transformation, as he finally steps away from his obsession with the cathedral and returns to his spiritual calling. The prayer’s message is a reflection of the film’s themes: that love, not material success, is what gives life meaning. The quiet power of this scene, coupled with the simplicity of Henry’s words, makes it one of the film’s most memorable moments.

Dudley’s Farewell:

• Scene Description: In the final scenes of the film, after completing his mission, Dudley prepares to leave. He visits Henry one last time, and while they exchange a few final words, Dudley gently wipes Henry’s memory of him. Dudley then departs, knowing that his work has restored the love and joy in the Brougham household.
• Significance: This farewell scene is bittersweet. Dudley’s ability to erase his presence ensures that the changes in the Brougham family feel authentic and lasting, not the result of outside intervention. Dudley leaves quietly, without seeking recognition or praise for what he’s done, which underscores the film’s message that real miracles often happen in the background of life, unseen and unsung. Cary Grant’s performance in this scene, with his calm grace and quiet sadness, adds emotional weight to Dudley’s departure.

Dudley at the Choir Rehearsal:

• Scene Description: Dudley visits the church while the boys’ choir is practicing. He steps in to help the frustrated choir director, guiding the boys through a beautiful rendition of "O Sing to God." With Dudley’s encouragement, the choir produces a transcendent performance, leaving everyone, including the director, astonished.
• Significance: This scene symbolizes Dudley’s ability to bring harmony where there was once discord. It also reflects the film’s underlying theme of spiritual guidance. Dudley’s intervention here is not about using his powers for show; rather, he helps others discover their own potential. The song itself ties in with the film’s focus on faith and the joy that comes from embracing the spirit of the holiday season.

Dudley and the Wine Bottle:

• Scene Description: In a dinner scene with the Bishop and Julia, Dudley performs a small miracle by making a bottle of wine that is nearly empty last for the entire meal. He fills everyone’s glass without it ever running out, a subtle nod to the biblical story of the wedding at Cana, where Jesus turns water into wine.
• Significance: This small miracle is both humorous and symbolic. It reflects Dudley’s role as a provider of small but meaningful miracles—ones that enrich lives in ways that might go unnoticed. The scene also serves as a light-hearted moment of warmth and connection between the characters, reinforcing the film’s themes of abundance and gratitude for the simple pleasures in life.

Awards and Recognition

Academy Awards (Oscars) – 1948:

• Won:

Best Sound, Recording: Gordon E. Sawyer

• Nominations:

Best Picture

Best Director: Henry Koster

Best Film Editing: Monica Collingwood

Best Music, Scoring of a Dramatic or Comedy Picture: Hugo Friedhofer

Best Writing, Screenplay: Robert E. Sherwood and Leonardo Bercovici

Golden Globe Awards – 1948:

• Won:

Best Director: Henry Koster

National Board of Review (NBR) Awards – 1947:

• Top Ten Films: The Bishop's Wife was listed among the top 10 films of the year