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IMDbPro

A Família Barrett

Título original: The Barretts of Wimpole Street
  • 1934
  • Passed
  • 1 h 49 min
AVALIAÇÃO DA IMDb
6,9/10
2,3 mil
SUA AVALIAÇÃO
Charles Laughton, Fredric March, and Norma Shearer in A Família Barrett (1934)
BiographyDramaRomance

Adicionar um enredo no seu idiomaElizabeth Barrett's tyrannical father has forbidden any of his family to marry. Nevertheless, Elizabeth falls in love with the poet Robert Browning.Elizabeth Barrett's tyrannical father has forbidden any of his family to marry. Nevertheless, Elizabeth falls in love with the poet Robert Browning.Elizabeth Barrett's tyrannical father has forbidden any of his family to marry. Nevertheless, Elizabeth falls in love with the poet Robert Browning.

  • Direção
    • Sidney Franklin
  • Roteiristas
    • Rudolph Besier
    • Ernest Vajda
    • Claudine West
  • Artistas
    • Norma Shearer
    • Fredric March
    • Charles Laughton
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    6,9/10
    2,3 mil
    SUA AVALIAÇÃO
    • Direção
      • Sidney Franklin
    • Roteiristas
      • Rudolph Besier
      • Ernest Vajda
      • Claudine West
    • Artistas
      • Norma Shearer
      • Fredric March
      • Charles Laughton
    • 40Avaliações de usuários
    • 12Avaliações da crítica
  • Veja as informações de produção no IMDbPro
  • Veja as informações de produção no IMDbPro
    • Indicado a 2 Oscars
      • 6 vitórias e 2 indicações no total

    Fotos41

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    Elenco principal21

    Editar
    Norma Shearer
    Norma Shearer
    • Elizabeth Barrett
    Fredric March
    Fredric March
    • Robert Browning
    Charles Laughton
    Charles Laughton
    • Edward Moulton-Barrett
    Maureen O'Sullivan
    Maureen O'Sullivan
    • Henrietta Barrett
    Katharine Alexander
    Katharine Alexander
    • Arabel Barrett
    Ralph Forbes
    Ralph Forbes
    • Captain Surtees Cook
    Marion Clayton Anderson
    • Bella Hedley
    • (as Marion Clayton)
    Ian Wolfe
    Ian Wolfe
    • Harry Bevan
    Ferdinand Munier
    Ferdinand Munier
    • Dr. Chambers
    Una O'Connor
    Una O'Connor
    • Wilson
    Leo G. Carroll
    Leo G. Carroll
    • Dr. Ford-Waterlow
    • (as Leo Carroll)
    Vernon Downing
    • Octavius Barrett
    Neville Clark
    • Charles Barrett
    Matthew Smith
    • George Barrett
    Robert Carleton
    • Alfred Barrett
    Allan Conrad
    Allan Conrad
    • Henry Barrett
    Peter Hobbes
    • Septimus Barrett
    Flush
    • Flush
    • Direção
      • Sidney Franklin
    • Roteiristas
      • Rudolph Besier
      • Ernest Vajda
      • Claudine West
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários40

    6,92.3K
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    Avaliações em destaque

    EightyProof45

    Simply Amazing

    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.
    10Ron Oliver

    True Story Well Told

    Love brings both ecstasy and turmoil to the troubled home of THE BARRETTS OF WIMPOLE STREET.

    With its usual opulent style, MGM relates the story of the romance between two of England's most celebrated poets of the 19th Century, Elizabeth Barrett & Robert Browning. Not at all stuffy, the film lets the especially strong performances and the (mostly) true facts of the case propel the drama. It's inspiring to see what adversities real people have had to overcome to still achieve happiness and contribute to society.

    Three vivid performances dominate the film. As Elizabeth, Norma Shearer is radiant, conveying the emotions of a woman grasping at the chance for sudden, unbelievable love, while still having to fight off paternal attentions which have become sickly & diseased. Fredric March as Browning fairly explodes on the screen, full of energy and vitality, anxious to express his honest adoration for Shearer, come what may. His great enthusiasm is played with effective contrast as compared to Shearer's enforced languor.

    But stealing his every scene is Charles Laughton, fascinatingly perverse as Mr. Barrett, whose warped personality & twisted sensual ego forces him to demand complete, unswerving obedience from his terrified offspring. His eyes hint at passions best left undisturbed and even in his final screen moments he's utterly unrepentant, still plotting pain to punish others.

    An excellent supporting cast adds immensely to the film: lovely Maureen O'Sullivan as Elizabeth's sister Henrietta, desperate for freedom from her awful home; affable Ralph Forbes, one of the most under-appreciated actors of the era, as her earnest suitor; birdlike Una O'Connor as Shearer's loyal maid; genial Ferdinand Munier & blunt Leo G. Carroll as Shearer's supportive doctors; flighty Marion Clayton as Laughton's silly niece; and Ian Wolfe as her foppish suitor.

    The other Barrett siblings are portrayed by Katharine Alexander (Arabel), Vernon Downing (Octavius), Neville Clark (Charles), Matthew Smith (George), Robert Carleton (Alfred), Allan Conrad (Henry) & Peter Hobbes (Septimus).

    ************************

    Elizabeth Barrett (1806-1861), the eldest of ten children, lived a very happy childhood by all accounts, free to write and pursue her intellectual interests. But after the death of her mother, Mary, and a serious spinal injury resulting from a fall, her life began to darken. The death by drowning of her brother, Edward, brought on an emotional reaction so severe that she became a virtual recluse. Financial problems eventually brought her family to reside at 50 Wimpole Street, London, in 1838. She continued to write and publish poetry, some of which was very highly acclaimed and brought her to the attention of the poet Robert Browning (1812-1889), six years her junior. Highly emotional, his first telegram to her in January of 1845 went straight to the point: "I love your verses with all of my heart, dear Miss Barrett. I do, as I say, love these books with all my heart--and I love you too." He visited her and they fell passionately in love, finally marrying on September 12, 1846. Elizabeth continued living at her father's home for another week before escaping to Florence, Italy, with Browning. (Her father, who really was a wicked old sinner, never forgave her. He finally died in 1856.) Elizabeth's health improved in Italy, and she gave birth to her only child, Robert Wiedmann Browning, in 1849. Her love poems to her husband were published in 1850. Entitled Sonnets from the Portuguese, they became her most famous work. Elizabeth's last years were spent busily involved in the anti-slavery movement, spiritualism & Italian politics. Her health relapsed and she died in her husband's arms in 1861.
    10alexandra-25

    The image of an abusive Dad.

    The Barrets Of Wimpole Street is a film based on rumours of poet Elizabeth Barrett's relationship with her father who allegedly abused her. As such the film makes for an interesting 'gossip column' type of story found in celebrity magazines. This of course does not trivialise the serious nature of abuse.

    What is most interesting in The Barretts Of Wimpole Street is that the nature of abuse -which takes on an incestuous form, - and the fact that it is conveyed through the image of the great Charles Laughton who is far from abundant in classic film star good looks. Therefore, in this instance abusive parents are depicted with a certain image which lacks favourable features. If a more glamorous cinema idol had played the part of Edward Moulton-Browing, perceptions of abuse could become distorted even though looks are irrelevant to abusive behaviour.

    It is also ironic that the abused Elizabeth Barrett's only opportunity to escape (at least it would appear that way) is via another controlling man. The difference is that Robert Browning wants (not totally motivated by altruistic reasons because he needs to fulfil his own emotional needs) the best for Elizabeth, whereas her completely selfish father only wants what's best for himself.

    The acting in this version of the Barretts Of Wimpole Street is of the highest calibre. This is especially for the three leads. While Laughton conveys his character Edward Moulton-Barret's abuse with a malicious menace that is extremely frightening, Norma Sheara is amazing as the abused Elizabeth Barret. Her face conveys such helplessness of a woman trapped, not only by her physical condition and environment, but by the psychological anguish of a woman torn between her abusive father and the importance of her own well being. Indeed Edward Moulton-Barrett's children have learnt to receive their Father's approval via abuse.

    In addition to conveying her anguish, Shearer illustrates that she is adept at illustrating the poetic Elizabeth when she interacts with Fredric March through her delivery of lines. This is reciprocated by March's efforts who is equally poetic in his highly animated delivery of lines.

    The supporting cast all give tremendous performances, especially that of Maureen O'Sullivan. She plays the naive, younger sister Henrietta to her stolid older sibling Elizabeth. Comic relief comes from Una O'Conner as Elizabeth's loyal maid Wilson, and Marion Clayton Anderson as the scatty cousin Bella. Also good is canine acting from Flush the dog, who slinks into his basket right on cue at the mere sight of Charles Laughton's character Edward Moulton-Barrett.

    This film adaptation of The Barrets Of Wimpole Street is cleverly adapted from the stage, and is one of the best of its era.
    7alluyb1tch

    A very passionate romance!

    Sidney Franklin joins the 3 Oscar winners in this Romantic Drama.

    The story is told of a young poet (Norma Shearer) who has a serious health problem which prevents her from having a normal life, this young woman falls in love with Mr. Browning (Fredric March) another poet which corresponds to the young woman, but What is the impediment? Her father (Charles Laugthon), a frivolous, cruel and manipulative man who imposes her interests over the wishes of his children.

    It is a story full of drama, very well done. The script has no distractions and is enhanced every time.

    A good costume and general production, setting the 1800s very well.

    The impeccable performances, brought together 3 titans who did a great performance.

    Charles Laughton made us hate him, Fredric March believe in love, Maureen O'Sullivan who I did not mention at the beginning but who achieves a tremendous freshness with a very strong character despite being secondary, and finally we have Norma Shearer who earned her fourth Oscar nomination with this role that most evolved and managed to make us empathize.
    9einheri-662-736814

    Wonderful acting throughout

    The Barretts of Wimpole Street (1934). Fine performances in this film adaptation of the play. Poet Elizabeth Browning (Norma Shearer), sick and shut in, corresponds with, and later meets the younger poet Robert Browning (Fredric March), who helps give her strength to live life, and gives physical form to a love between them already established through reading each other's poems. Wonderful performance by Charles Laughton as Elizabeth's strict, menacing, religious father, who delivers as much incestulous-glint into his eyes and creepy closeness as 1930's sensibilities would allow. Also, a very nice job by a young Maureen O'Sullivan, although her very voice draws me out of the film and leaves me expecting Tarzan to burst in at any moment. Finally, Uma O'Connor is my most favorite supporting character actress of all time.

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    Enredo

    Editar

    Você sabia?

    Editar
    • Curiosidades
      Concerned about the public's reaction, the disturbing subplot about Father Barrett's incestuous designs on his daughter was toned down by the studio. However, Charles Laughton famously remarked that they couldn't censor the "gleam" in his eye.
    • Erros de gravação
      It's stated in the beginning that it is 1845, but in the first scene Henrietta sings 'Little Brown Jug', which was written in 1869.
    • Citações

      Elizabeth Barrett: What's another disaster to one who has known little but disaster all her life? But you're a fighter. You were born for victory and triumph. Oh, and if disaster ever came to you through me...

      Robert Browning: Yes, a fighter. But I'm sick of fighting alone. I need a comrade in arms to fight beside me.

      Elizabeth Barrett: But not one already wounded in battle.

      Robert Browning: Wounded but undaunted, unbeaten, unbroken. What finer comrade could a man ask for?

    • Conexões
      Featured in E o Oscar Vai Para ... (2014)
    • Trilhas sonoras
      Wilt Thou Have My Hand
      (1934) (uncredited)

      Music by Herbert Stothart

      Words by Elizabeth Barrett Browning

      Performed by Norma Shearer (piano and vocal)

      Reprised by her, Maureen O'Sullivan, Katharine Alexander, Vernon Downing,

      Neville Clark, Matthew Smith, Robert Carleton, Allan Conrad and Peter Hobbes

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    Perguntas frequentes17

    • How long is The Barretts of Wimpole Street?Fornecido pela Alexa

    Detalhes

    Editar
    • Data de lançamento
      • 21 de setembro de 1934 (Estados Unidos da América)
    • País de origem
      • Estados Unidos da América
    • Idioma
      • Inglês
    • Também conhecido como
      • The Barretts of Wimpole Street
    • Locações de filme
      • Metro-Goldwyn-Mayer Studios - 10202 W. Washington Blvd., Culver City, Califórnia, EUA(Studio)
    • Empresa de produção
      • Metro-Goldwyn-Mayer (MGM)
    • Consulte mais créditos da empresa na IMDbPro

    Especificações técnicas

    Editar
    • Tempo de duração
      1 hora 49 minutos
    • Cor
      • Black and White
    • Proporção
      • 1.37 : 1

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