Miss Barrett

The Barretts of Wimpole Street is one of the finest play-to-film adaptations of the 1930s. Although its script, photography, and direction are all first-rate, it is still the grand performances that make this film appealing even today. The above-the-title trio had all won Academy Awards in the two or three years prior, and demonstrate their supreme thespian abilities in their roles. Towering above all is Norma Shearer, as bedridden invalid Elizabeth "Ba" Barrett. Although she speaks the lines in that sophisticated voice of hers, the scenes that strike the viewer greatest are ironically those without dialog at all. Take for example the scene immediately following her first visit with Browning. After he leaves her bedroom, the invalid struggles to her feet, and in one take, tries with all her heart to get over to the window so she can see him once more, leaving. In another scene, set a few months later, she is informed that Mr. Browning has come to visit her. Again, overcoming her bedridden state, she not only gets up, but also decides to go to see him downstairs instead of having him come up. Her eyes and hands express so much, and as she descends (without much dialog), her whole self-sense seem to elevate. Only a short while later, however, her domineering father orders her back upstairs. He wishes to carry her, but she insists on walking. In a magnificent William Daniels close-up, the camera stays on her face as her father tells her off camera that she will not succeed. Shearer's genius here lies in the change of facial expressions, as her reactions to her father's criticisms finally take their toll and she collapses. Quite simply, its another of Norma Shearer's brilliant characterizations, and one of the most different roles the actress ever played. March, second-billed as Browning, is a little histrionic. He gave a better performance opposite Shearer in 1932's Smilin' Through, but his performance here does not detract from the film, and his forcefulness seems strangely potent at times. As the glowering father, Laughton is amazing. The infamous "gleam" in his eye is there in many scenes, and when he carries his daughter up the stairs, its almost perverted (albeit brilliant). Maureen O'Sullavan is phenomenal as Elizabeth's young-and-in-love, rebellious sister, and Una O'Connor is in great form as her graceful maid.

A feast for fine acting, The Barretts of Wimpole Street is one of the most appealing of all costume dramas of Hollywood's golden age. It still stands (as it shall for many years to come) as a lasting tribute to two larger-than-life literary icons.

****point of interest****in 1957, Barretts was admirably remade by the same director (Sidney Franklin) at M-G-M (as was this version). Although not nearly as good as the original, fine performances from Jennifer Jones (Elizabeth) and John Gielgud (Papa Barrett) again captured on film Rudolph Besier's classic roles.

The love story between Robert Browning and Elizabeth Barrett is legendary, and her 'Sonnets from the Portuguese' contains some of the beautiful love poetry ever written. They were both already established poets when they began corresponding, but she was an invalid, and had doubts and insecurities that he helped overcome with steady, persistent, genuine love. What I had forgotten about their story was how poorly her father behaved towards her and the rest of his children, and this movie really shows us that, in what appears to be a pretty accurate way.

Charles Laughton is brilliant as the overbearing, controlling, overprotective, borderline incestuous Mr. Barrett, father of 12, whose wife had passed away, and whose own frustrations in love had led him to forbid his children to marry. He's hard to watch at times, but certainly gives the best performance, and the movie is probably more about his inability to let his children go – indeed, he disinherited each one who married – than it is about the extraordinary love between Robert and Elizabeth, though Frederic March and Norma Shearer do have some tender scenes. I enjoyed watching it, but I suppose that's the reason I didn't give a higher rating. How much better would it have been had they incorporated even more of their relationship, and some of their letters and poetry. The movie would be remade 23 years later by the same director, Sidney Franklin, and would be a great choice to be remade (with script changes) again today.

This was a prestige effort in every way in 1934, gathering together the Academy Award winners of the past three years to appear together in the film version of a highly respected play. That the play no longer holds the stage, and that it is old fashioned melodrama, is hardly the point. The script may lean towards the treacly, but both Charles Laughton and in particular Norma Shearer give it s real lift.

Laughton is somewhat hammy, playing Mr. Barrett as a slightly toned down Dr. Moreau. But I defy anyone to look away; and towards the end of the film he does give a fine impression of a man in torment. But it is Shearer who really carries the film; absolutely lovely performance, restrained and wisely underplaying with Laughton. Observe their final confrontation and note how Shearer's performance rises in intensity as Laughton's grows more subdued. This is a high class of ensemble acting.

Only Fredric March lets the film down by being far too energetic as Robert Browning; meant to be cockily eccentric, he succeeds in putting your teeth on edge. Still, Norma loves him convincingly enough.

A highly recommended film for a rainy afternoon.

The beautiful Canadian actress Norma Shearer starred in this tense and unusual love story based on the true-life romance of Elizabeth Barrett and the poet Robert Browning. Charles Laughton's performance as her possessive and pathologically jealous father was one of the finest in his outstanding career. Although incest was the film's unspoken subtext, contemporary sensitivities prevented it from being spelt-out. That was not to deter Laughton who famously remarked that though they could prevent him from speaking of it, they could not censor the glint in his eye! An outstanding film.

Charles Laughton was unmatched in larger-than-life monster roles, physical or emotional grotesques. Surrounded by stars, he outshone and certainly upstaged them all. And what a range too? The soft-hearted sentimental Hunchback of Notre Dame, the ultimate aloof aristocratic villain Squire Trelawney in Daphne DuMauriers tale of Cornish smugglers, the overbearing, over-drinking Lancashire patriarch in the comic Hobsons Choice.Nobody matched Laughton, nobody played them half as well.

Here,what would otherwise have been a nice family of happy siblings is instead daily terrorised by a bullying obsessive jealous widower.What might have been a pleasant life is made one of stress as their reasonable expectations of a happy life are thwarted by the strange exactions of one man: their father.Lives that could have been pleasant and in the main unexceptional are dominated by him. But it is the eldest daughter who receives most of her father's attention who rather than lose her, instead insists that she is an invalid and must remain bed-ridden.

Dramatically, the entire world of this family of 10 is dominated - and animated - by the single figure of this domineering monster played by Laughton. It is, after this, a fairly simple tale of the unalloyed good and brave daughter (played by Hollyood darling Norma Shearer) who rebels and against this tyrant and is able to go on to have a distinguished life with nice young suitor, poet Robert Browning (Frederic March in this for him an unchallenging role. March had elsewhere played one of cinema's most memorable monsters: Mr Hyde).

Norma Shearer rebels not only on her own behalf but also for her siblings too so that they can all live normal fulfilled lives. Not just for her own domestic happiness but also for her artistic freedom, against the the tyranny of this lone monster who would crush them all.

It was Laughton who admitted that the look that he gave his daughter (Shearer) should have earned the film an X certificate - it conveyed the very mixed and complicated emotions of this very odd Victorian disciplinarian pater familias.