The Barretts of Wimpole Street

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.

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.

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.

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.

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).

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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.