Wonderful Movie

Good story, Not enough for a whole film

Great movie. Not sure what people expected but I found it highly entertaining.

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

In 1845 London, invalid poetess Norma Shearer (as Elizabeth Barrett) finds reasons to live, after meeting fellow writer Fredric March (as Robert Browning). "The Barretts of Wimpole Street" focuses on one particular Barrett; not surprisingly, it is the one played by Ms. Shearer. At the time, she was considered one of the best actresses of all-time, and this MGM production captures Shearer's appeal perfectly. Unlike many of her contemporaries, Shearer approached most of her later roles from a movie star perspective, and stayed there. So, rather than trying to inhabit Elizabeth Barrett, she brings the character to Shearer. Herein, it works. This was the last time Shearer had the use of her greatest behind-the-scenes collaborators, director Sidney Franklin and husband Irving Thalberg. The latter assembles the usual top talent, and Franklin expertly presents his star.With William Daniels' loving camera, Shearer is given numerous close-ups and medium shots, made to showcase her acting.So, you will see the litany of Shearer looks. Much of it is unnecessary, but it certainly makes the picture fun to watch. And, Shearer's performance is one of her best. The "Academy Awards" took notice, and Shearer finished #2 behind Claudette Colbert in the annual "Best Actress" race, ahead of Bette Davis. Many people think Ms. Davis was "robbed" that year; but, Shearer was even more slighted. The film was "Best Picture" according to "Film Daily" and "Photoplay" while Oscar placed it second. There were no "Supporting Actor" awards yet, or Charles Laughton would surely have been noticed; if only for the way he practically commands Shearer to fall on their home's imposing staircase. Franklin is also award-worthy; when maid Una O'Connor glides into the screen, you know he intends to lift a stagy story about a mostly immobile woman up off its heels.******** The Barretts of Wimpole Street (9/14/34) Sidney Franklin ~ Norma Shearer, Frederic March, Charles Laughton, Una O'Connor

"The Baretts of Wimpole Street" released in 1934, has the stamp of MGM's great production values. Norma Schearer wonderfully plays Elizabeth Barrett, the invalid poet. She is overly protected by her father, brilliantly played by Charles Laughton. We later learn Laughton is really a tyrant of a man who is incapable of really loving anyone or being loved. Elizabeth meets the fellow poet Robert Browning (Frederic March), and they fall in love. Maureen O'Sullivan give one of her finest performances as Elizabeth's sister, who also falls in love with a Captain. Her father finds out and forbids her to see him again, in a cruel and heartbreaking scene where he makes her swear on a bible. The interplay between Laughton and O'Sullivan and Schearer is fascinating, as the family dynamics are brought to the foreground. "The Barretts of Wimpole Street" was originally a stage play, but translates just fine to the screen. The supporting case is top notch, but this is Norma Schearer's show. It is difficult to take your eyes off her. Laughton is great, as is O'Sullivan. Frederic March at times seems a bit off as Robert Browning, although he is very handsome and the chemistry between he and Schearer is credible. It is a shame that Norma Schearer left the movies by the 1940's. But we are fortunate that this gifted actress left such an amazing legacy of films - "The Barrets of Wimpole Street" is certainly one of them.

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.

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.