The Inn of the Sixth Happiness 1958

Rejected for her lack of formal education, Gladys Aylward Ingrid Bergman is given a chance to prove herself when Dr. Robinson Moultrie Kelsall helps her secure a position in the home of Sir Francis Jamison Ronald Squire, a veteran explorer with connections in China. Over months, she scrimps and saves enough to buy a ticket for the Trans-Siberian route, choosing the perilous overland path that’s cheaper but far riskier. Sir Francis also reaches out to his longtime friend in China, the veteran missionary Jeannie Lawson Athene Seyler, who agrees to take Gladys on as an essential assistant at her mission in Yangcheng. Lawson has already carved out a humble life for muleteers near an inn she runs, where travelers can feed their animals, sleep in clean beds, and hear Lawson’s stories drawn from the Bible. Through those stories and the steady work of the inn, the film follows Aylward’s slow acculturation, her growing faith, and the sense that she’s found a place among people whose world she’s only just begun to understand.

As time passes, Aylward takes charge of the inn with help from Yang [Peter Chong], the devoted cook who becomes both language tutor and cultural bridge, teaching her Chinese while sharing his own stories. The local Mandarin [Robert Donat] recognizes her resolve and entrusts her with a startling mission: to serve as his Foot Inspector and wage a quiet campaign against the archaic practice of foot binding. Her humility, courage, and practical approach win the trust of the people and, gradually, the respect of the Mandarin himself as she travels through rugged mountain passes and remote villages. It’s not long before she earns a nickname that speaks to her spirit: “She who loves,” a testament to her unwavering care for the vulnerable, including the children she begins to gather along the way, and she becomes steadily more accepted as a Chinese citizen.

Captain Lin Nan [Curd Jürgens], the garrison commander, returns to the region to help prepare for the looming conflict with Japan. He and Aylward share a quiet, growing bond as they accompany her on rounds, and when Lin leaves, they briefly confess their love. The war that follows changes everything. In 1937, Japanese forces invade China, and a devastating air raid shatters the city, killing Yang and forcing a mass evacuation. The Mandarin orders the population moved to safety in the countryside, and Li [Burt Kwouk], a former prisoner, comes to assist Aylward with her growing brood of adopted children.

Lin returns with grim news: the war is going badly, and the Mandarin must seek safety away from the city. He urges Aylward to accompany him, but she stays with her people, declaring, “These are my people and I will live and die for them.” The moment deepens their bond as they share a final kiss, and Lin helps secure a path for her amidst the chaos. In a council meeting, the Mandarin makes a momentous decision of his own, announcing that he intends to convert to Christianity to honor the faith at the heart of Aylward’s work. He bids farewell to his people, certain they will not meet again.

In the aftermath, the city lies nearly deserted, and Aylward works tirelessly to care for fifty children at the inn, while another fifty arrive from a different mission with a desperate letter: trucks will evacuate them to a safer interior, but they must reach the Xi’an mission by 12 November. The road ahead is blocked by Japanese forces, so Lin and his men map another route over the mountains, bringing a glimmer of hope. Lin places a ring on Aylward’s hand and tells her, “I know you’ll come back if you can.” The journey is grueling, including a dangerous river crossing, but they persevere and arrive on the deadline day, save for Li, who dies to shield them from a Japanese patrol.

The climactic march unfolds with a column of children led by Aylward filing up the steps of the mission, to the tune of the familiar song “This Old Man,” a tune she taught the children to keep spirits alive after the river crossing. Dr. Robinson greets her with a somber nod, and the moment arrives when he asks if she remembers him: “My name used to be Gladys Aylward.” She replies with a quiet dignity, and he concedes, “Gladys Aylward, who wasn’t qualified to come to China.” He invites her to join the children in a village in the interior, but she turns him down, casting a hopeful look toward the mountains as she says, “I am going home.”

These are my people and I will live and die for them.

My name used to be Gladys Aylward.

Throughout the film, the viewer is drawn into Aylward’s steadfast determination, her unexpected authority as she helps end an age-old custom, and her deep connections with both her Chinese community and the people who came to rely on her. The story blends personal growth with broader historical upheaval, showing how one determined individual can bridge cultural divides, heal wounds, and leave a lasting imprint on a community facing extraordinary challenges.