There are few films regarding the lives of great poets or poets at all. I can think of "Shakespeare in Love" (Shakespeare and Christopher Marlowe), "The Bad Lord Byron", "Tom and Viv" (T.S.Eliot and his first wife), "The Great MacGonigal", and the two versions of "The Barretts of Wimpole Street". Although the second version of the film is considered better by some viewers (who think John Guilgud's performance as Edward Barrett is more subtle than Charles Laughton's), most film lovers thing the 1934 version is better. It certainly showed that Norma Shearer could act more than competently (her 1931 Oscar for "The Divorcée" seems justifiable due to the number of character changes she undergoes in the film, but the film was weak to begin with). Here she had a great script, and "The Barretts" remains one of her top three performances with "The Women" and "Marie Antoinette". Her jousting with Laughton as her tyrannical father is worthy of attention, and look at their eyes in their last confrontation scene. Laughton could not be too explicit about his character's incestuous motives, but his eyes tell the story - and Shearer's frightening reaction tells the revulsion and fear she feels.
Fredric March's Robert Browning is optimistic and caring - which is what the character calls for (it is also what Browning apparently was like - he seems to have been ever the optimist). His willingness to admit his less than perfect side is admirable - witness how he realizes that a passage in one of his poems that Shearer cannot understand is one that does not make sense to him either (the lines concluding that sequence are quoted on this board). He is not weak reed, but a firm support for Barrett's need to flee her father. One cheers him on through the film.
It was not the first film he made with Laughton. In fact, one can make a case that March and Laughton almost made a dramatic "Laurel & Hardy" pair: "Sign of the Cross", "The Barretts of Wimpole Street", "Les Miserables". To be fair Laughton got the juicier parts ("Nero", Edward Barrett", "Javert"), but March held his own in their scenes together. No small acting here, given that Laughton can steal the thunder of the picture each time by his characters and their personalities.
For most of the film Laughton's character is detestable by his combination of selfishness, self-righteousness, and control-freakishness. Check out the brief scene where he is with a niece and her weak husband (Ian Wolf), which ends when he gives an overwhelmingly passionate kiss to the niece. He is a monster just barely in control of his "id". But there is one scene stands out for another reason. It is nearly comic.
Edward's second oldest daughter Henrietta (Maureen O'Sullivan) has also found a boyfriend, Captain Surtees Cook (Ralph Forbes). They have been stealing away every now and then for some time together, and Forbes has even ventured into the Barrett home. They have not been caught by Edward, but he comes in early one day and finds them together. Barrett of course is surprised, and quickly realizes that Cook is a local barracks soldier who has latched onto his daughter. Barrett is also a tax payer (and a wealthy one) and he knows his tax money is spent on the upkeep of those barracks, and the training of the soldiers there to defend his country. The scene is dramatic in that it will lead to one where Edward will browbeat poor Henrietta into emotional surrender (although also eternal hatred), but for a moment the situation becomes comic. Edward stands at the door listening to first Henrietta and then Cook explain their love and devotion. He is not really impressed by this, and pulls out his watch, which he looks over. Gradually Cook realizes that his explanations are not helping him and Henrietta, and that Mr. Barrett is getting tired of his presence in his home. Eventually poor Cook leaves with some vague promise to contact Henrietta at some later date with her father's permission. As he leaves a bored and stern Edward just remains looking at his watch. In the context of the movie it is just one more reason to detest Edward Barrett, but it is a hint of Laughton's later performance as Henry Hobson in "Hobson's Choice". One wonders if it was in the original play or screenplay. It certainly helps enliven the darkness and gloom surrounding Edward Barrett.
Fredric March's Robert Browning is optimistic and caring - which is what the character calls for (it is also what Browning apparently was like - he seems to have been ever the optimist). His willingness to admit his less than perfect side is admirable - witness how he realizes that a passage in one of his poems that Shearer cannot understand is one that does not make sense to him either (the lines concluding that sequence are quoted on this board). He is not weak reed, but a firm support for Barrett's need to flee her father. One cheers him on through the film.
It was not the first film he made with Laughton. In fact, one can make a case that March and Laughton almost made a dramatic "Laurel & Hardy" pair: "Sign of the Cross", "The Barretts of Wimpole Street", "Les Miserables". To be fair Laughton got the juicier parts ("Nero", Edward Barrett", "Javert"), but March held his own in their scenes together. No small acting here, given that Laughton can steal the thunder of the picture each time by his characters and their personalities.
For most of the film Laughton's character is detestable by his combination of selfishness, self-righteousness, and control-freakishness. Check out the brief scene where he is with a niece and her weak husband (Ian Wolf), which ends when he gives an overwhelmingly passionate kiss to the niece. He is a monster just barely in control of his "id". But there is one scene stands out for another reason. It is nearly comic.
Edward's second oldest daughter Henrietta (Maureen O'Sullivan) has also found a boyfriend, Captain Surtees Cook (Ralph Forbes). They have been stealing away every now and then for some time together, and Forbes has even ventured into the Barrett home. They have not been caught by Edward, but he comes in early one day and finds them together. Barrett of course is surprised, and quickly realizes that Cook is a local barracks soldier who has latched onto his daughter. Barrett is also a tax payer (and a wealthy one) and he knows his tax money is spent on the upkeep of those barracks, and the training of the soldiers there to defend his country. The scene is dramatic in that it will lead to one where Edward will browbeat poor Henrietta into emotional surrender (although also eternal hatred), but for a moment the situation becomes comic. Edward stands at the door listening to first Henrietta and then Cook explain their love and devotion. He is not really impressed by this, and pulls out his watch, which he looks over. Gradually Cook realizes that his explanations are not helping him and Henrietta, and that Mr. Barrett is getting tired of his presence in his home. Eventually poor Cook leaves with some vague promise to contact Henrietta at some later date with her father's permission. As he leaves a bored and stern Edward just remains looking at his watch. In the context of the movie it is just one more reason to detest Edward Barrett, but it is a hint of Laughton's later performance as Henry Hobson in "Hobson's Choice". One wonders if it was in the original play or screenplay. It certainly helps enliven the darkness and gloom surrounding Edward Barrett.