Supelice Dreadfully Boring

Lollivan It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Paynbob It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

Hattie I didn’t really have many expectations going into the movie (good or bad), but I actually really enjoyed it. I really liked the characters and the banter between them.

sdave7596 "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.

sandra small 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.

Stormy_Autumn I had seen the 1957 version of "The Barretts of Wimpole Street" so I wasn't going to take time for this one. My scheduling changed, I ended up with time and decided to watch the 1934 film. In it were Norma Shearer and Fredric March. I was surprised to note that they were superb. They played off of each other's characters. That spark of emotions were there.Edward Barrett's (Charles Laughton) lustful feelings for his eldest daughter, Elizabeth, become obvious right away. You know he's intentions are not honorable. The fact that he forbade any and all of his children to marry and have a life and family of their own shows that he is mean and self-centered. He isn't above belittling and tearing them down until they give up any idea of breaking away from the family. Edward Barrett wants total control over his complete family. This becomes obvious in the treatment of his own niece in front of her intended husband. How would you like to have the old monster sucking face with you? Ugh! Then comes Robert Browning who reads several of Elizabeth's poems. He falls in love, decides to meet her and convinces her to leave her father, family and marry him. Elizabeth agrees. They leave together with Wilson her maid. (Una O'Connor has that role.) They, also, want to take Elizabeth's beloved spaniel, Flush.Barrett is furious when he discovers their leaving. His cruelty quickly becomes definite. He is going to do away with Flush to get even with Elizabeth for leaving her father for Robert. Will his attempt succeed? Will he ever see his daughter again? What happens with the rest of the family once he loses his hold on Elizabeth? Will Flush make it to the wedding? There's one way to find out, see the movie.

nycritic Although 1934 was the year of Claudette Colbert, Bette Davis, and IT HAPPENED ONE NIGHT, MGM successfully translated this heavy-handed stage drama into a hit. Norma Shearer plays poet Elisabeth Barrett, who is virtually s shut-in, but has a will to live and in one touching scene, she looks through the window in her room to the outside, a flurry of emotions just shifting through her marble face, hinting of much inner pain.That she later becomes the object of the affections of writer Robert Browning (Fredric March) sparks the already over-protectiveness of her father Edward Moulton Barrett into showing his true colors is part of the drama; he plans on keeping her home, and one look at his fierce eyes reveal a lot more than the Studio and the censors were allowing to actively display on camera except for one scene, in which he confronts Elisabeth near the end. One only has to watch at both actors' body language to know that they understood their characters: he is a control-freak who has sublimated designs on his own daughter and she knows it and is horrified.If it's a little too tied to its flowery origins on the stage, this is permissible, because it does make for entertaining viewing and despite some of the performances showing their age, it doesn't tire. If the Academy had introduced the Supporting Actor/Actress category Una O'Connor would have won by default, giving a strong performance as Elisabeth's maid and confidant. One of the strong productions of 1934 and one of Norma Shearer's most textured performances as a woman of indomitable will who refuses to be tied down, not just to a chair, but to her own life at home under her father's unhealthy shadow.