THE BARRETTS OF WIMPOLE STREET was remade in the '60s with Jennifer Jones as Elizabeth Barrett Browning, but most movie fans prefer this earlier version of the tale starring NORMA SHEARER as the ailing poetess, FREDRIC MARCH as her lover and CHARLES LAUGHTON as the control freak of a father. MGM gave it lavish production values and Sidney Franklin's direction is first rate. He would later direct the remake.
MAUREEN O'SULLIVAN is charming as Elizabeth's spirited sister in love with a soldier, RALPH FORBES. Performance-wise, it's probably Shearer's best screen performance, ranking with her MARIE ANTOINETTE as the best work of her career. Her quiet resignation to living under the firm domination of her father is well realized, even in the earliest scenes.
Trivia note: I don't understand why the decision was made to have UNA O'CONNOR floating into the room as though she was on a track and appears not to be walking at all. It does nothing more than create an artificial effect, especially since O'Connor's performance is more understated than usual.
The character-driven story is heavy with stage dialog, moves leisurely and is not likely to find much appeal with today's film-goers. FREDRIC MARCH, who makes his entrance into the story after the first half-hour, is a lively presence but almost overdoes the youthful eagerness in his first scene with Shearer. His boundless energy seems a bit forced.
CHARLES LAUGHTON is convincingly devious as the stern parent but looks a bit too young beneath the whiskers and age make-up. Shearer seldom looks as sick as she's supposed to be and is given some radiant close-ups, as if to prove that MGM's make-up department was as efficient as ever.
Summing up: Never one of my favorite stories--or films--but worth watching for the performances of an excellent cast.
MAUREEN O'SULLIVAN is charming as Elizabeth's spirited sister in love with a soldier, RALPH FORBES. Performance-wise, it's probably Shearer's best screen performance, ranking with her MARIE ANTOINETTE as the best work of her career. Her quiet resignation to living under the firm domination of her father is well realized, even in the earliest scenes.
Trivia note: I don't understand why the decision was made to have UNA O'CONNOR floating into the room as though she was on a track and appears not to be walking at all. It does nothing more than create an artificial effect, especially since O'Connor's performance is more understated than usual.
The character-driven story is heavy with stage dialog, moves leisurely and is not likely to find much appeal with today's film-goers. FREDRIC MARCH, who makes his entrance into the story after the first half-hour, is a lively presence but almost overdoes the youthful eagerness in his first scene with Shearer. His boundless energy seems a bit forced.
CHARLES LAUGHTON is convincingly devious as the stern parent but looks a bit too young beneath the whiskers and age make-up. Shearer seldom looks as sick as she's supposed to be and is given some radiant close-ups, as if to prove that MGM's make-up department was as efficient as ever.
Summing up: Never one of my favorite stories--or films--but worth watching for the performances of an excellent cast.