Barretts of Wimpole Street

The story in actual fact is simple and straight forward and details the romance that blossoms between Elizabeth, an invalid in her domineering father's house, and acclaimed poet Robert Browning. The friendship that first develops via letters grows into a consuming love affair after the two finally meet and through the love and devotion that Elizabeth receives we witness a rapid improvement in her health where she begins to enjoy life and begins going out into the world. Elizabeth's new found happiness however is continually blighted by her overbearing father Edward Moulton-Barrett (Charles Laughton), who has it as his aim to not allow any of his 9 children to marry or have any relations with people outside of the family. He comes into conflict not only with Elizabeth and Robert but also with his spirited younger daughter Henrietta (Maureen O"Sullivan), who begins a romance much to her father's disgust, with Captain Surtees Cook (Ralph Forbes). With Robert's promise of a new happier world and future life as his wife, Elizabeth grows in confidence and inner strength and with the assistance of loyal maid Wilson (Una O"Connor) she plots to make her escape and go away with Robert. After much soul searching and heated discussions with her as always obstinate father about the rights and wrongs of marrying Robert, Elizabeth decides that he will never change and leaves her family home where she has not only been a physical prisoner but also an emotional one for far too long. The final scenes see Elizabeth leave the house against her father's wishes to begin a new life with Robert taking Wilson her always devoted servant with her.

Despite the very stagey appearance of much of the film which largely confines the main action to Elizabeth's bedroom the good performances do to a large extent help "open out" the stage origins of the piece. Norma Shearer is both reserved and at times wonderfully spirited in her multi layered playing of Elizabeth and her early work as a full invalid is very well executed in particular when with Robert's prompting she takes her first tentative steps away from the security of her bedroom. Shearer who was often reluctant to take on the mantle of the highly polished queen of period dress films that her husband envisioned for her, was at first most reluctant to tackle the role of a largely bedridden invalid. Reunited with her popular "Smilin' Through" costar Fredric March however she soon saw the golden opportunity awaiting her and she created one of her best pieces of work on film. The story really comes alive in the many heated exchanges that take place between Elizabeth and her horrid father. Here the real dramatic power of "The Barretts of Wimpole Street",lies and Norma Shearer more than holds her own in the dramatic stakes with such a seasoned scene stealer as Charles Laughton. While Laughton's character is all spite and hatred it can be seen thanks to his expert playing of the part, that alot of what motivates him is bascially a deep seated fear of being eventually left on his own. What is amazing is the fact that despite being almost the same age as Norma Shearer, the wonders of makeup have allowed Laughton to convincingly play her father and never once does it look odd or unrealistic. Being a grade "A" production the film has a beautiful rich look and feel to it courtesy of MGM. Attention to detail in sets and general period flavour is top rate and designer Adrian again has excelled with his magnificent historically accurate costumes especially for Norma Shearer and Maureen O"Sullivan. Director Sidney Franklin had a difficult task on his hands in opening out a story that clearly betrayed its stage origins and in the second half in particular he succeeds very well in giving the story more movement and dimension. He liked the material so much that he went on to remake this film to far less dramatic acclaim in the 1950's with Jennifer Jones taking the Elizabeth Barrett role.

"The Barretts of Wimpole Street", is without a doubt one of the crowning glories in the careers of all three lead performers. Norma Shearer totally deserved the acclaim she won for her work here and she managed to make the character of Elizabeth Barrett totally her own. It is definately movie making of the old school and while the romance between these two young lovers may appear a bit dated it is thanks to the determined playing by Charles Laughton adding the necessary spice to the proceedings that makes it totally enjoyable viewing. Treat yourself to a viewing of this early MGM gem and see how Norma Shearer with the influencing of her husband rightly became known as the prestigious Queen of MGM productions during the 1930's.

I've watched this several times but never been quite certain what I wanted to say in a review and I figured I must do it sometime and since I beheld it once again last night I thought this morning would be a good time and even though I know not what I shall say I think something will come to me. You see it is already coming to me.

This was my first Norma Shearer experience. At first I didn't really have an opinion of her one way or another but by the second viewing I knew I liked her. She gazes at everybody and everything even with her eyes shut. "I am a dying woman," she says low and dramatically. "We are all of us dying," Fredric March answers in the same tones. Speaking of him, maybe I shouldn't get started speaking of him. His part wasn't nearly as much as it could have been but it was sufficient, I suppose. It's entertaining to count the different patterned scarf-ties that he wore. He had a checked one and two different polka-dot ones and a plain black or grey one and one other I think with a nondescript print. His embroidered britches and the cape with the fur collar were a bit much, though. But let's get beyond the clothes - we all know they leave much to be desired. He had some of the most remarkable lines or should I say speeches in this movie which I invariably forget when I try to recall them later. I guess that's a good reason for you to see this yourself. This is really first-rate melodrama in some spots. I keep telling myself, they're poets - they can be as flowery as they like. Besides, I like first-rate melodrama. But back to Robert Dahling... He gives a very energetic portrayal of the poet, brings Elizabeth to life with what she calls "a series of electric shocks", and strides about in a manner reminiscent of his earlier characters, Dr Jekyll and Jeremy Wayne. It's not surprising that Elisabeth should re-gain her will to get well again with the inspiration of someone so sparkling with life. Oh, but that's not all there is to say about him. He had a beautiful view of a swan-inhabited pond from his study window.

I suppose I have to say something about Charles Laughton. Let it suffice to say that he strikes me as particularly disgusting and I don't care for the way he spits out his words like he has a grudge against the whole world plus three and a half.

Ralph Forbes was better as Willy Ainley in "Smilin' Through" than he is here as Captain Certes Cook. Una O'Connor is the niftiest maid on wheels. Flush the dog - well, he's a dog. I don't like dogs. Maureen what's her name who played Henrietta was also quite good. "Will you be here tomorrow? Don't look! That lady across the street is watching. Will I ever see you in full uniform? Don't tell me!"

And Cousin Bella's high-pitched baby talk... "Oh, Henwietta, you WILL be my bwidesmaid, won't you?" "Dear, dear Cousin Elizabeth! So fwagile! So spiwitual! One only has to look into your dear eyes to see how vewy close you are to Heaven!" Cousin Bella's fiancé's most memorable line... "Come, come, my pet!" Also, "Come, come, my pet!"

The filming is good, the story is strong, and Norma sings a sweet little song with her bros. and sisses. It was not only enjoyable to watch but made me go out and read some of the Brownings' poetry. I found Robert's a bit obscure but I have read Eliz's Sonnets several times through.

I've never been able to find the poem though about the "all petals, no prickles" that Robert reads aloud so he can explain it to Elizabeth. He finally said after studying it for some time, "Well, when that was written, only God and Robert Browning understood it. Now, only God understands it."

See this movie. If you are weally on the side of womance, I think you will weally enjoy watching it. It's so twilling!