jhkp This story of the courtship of two poets, the invalid Elizabeth Barrett, and the vital Robert Browning, makes for a very enjoyable couple of hours. It's nice to see a film based on a well-written play, with fine characterizations and good direction. The film is surprisingly suspenseful; apparently mundane, everyday matters absorb us slowly inexorably, until we realize they are matters of life and death. As Elizabeth Barrett, Jennifer Jones gives one of her finest portrayals. Unfortunately, it's not one she's especially remembered for, because the movie doesn't seem to be shown all that much. As Elizabeth Barrett, she's required to be the emotional center of the film, and she accomplishes that, with great warmth and simplicity. You'll find yourself rooting for her. Though she's the one American in an all-British cast, she never comes across a Barrett from Hollywood Boulevard.The great John Gielgud is a bit more problematic in the role of Moulton Barrett, the tyrannical father the large Barrett brood lives in fear of upsetting. At this point, Gielgud, though he had appeared in films, had not especially mastered (or so it would appear) the subtle technique of performing for the camera. He's not bad, but he's stagy. And I also wonder if he's the best choice for the role. But at least he's strong, and makes his presence felt. This works for the film far more than it detracts.The film also features the married team (though I'm not sure if they were, at the time) of Bill Travers and Virginia McKenna, later the stars of Born Free. Travers plays Robert Browning; he may not be everyone's idea of Browning, but he's a good actor and he has a lot of energy. McKenna plays the role of the younger sister that was played in the 1934 version by Maureen O'Sullivan. The two performances could not be more different; O'Sullivan playing the frightened little ingenue (quite well, it must be said), and McKenna playing it much more internally and with a stillness and a subtle fear. It's a very fine performance.The supporting cast is uniformly good. Sidney Franklin (who hadn't directed a film in 20 years) does a beautiful job. The sets and costumes, in color and CinemaScope, are perfect.I really enjoyed it.

sdave7596 "The Barretts of Wimpole Street" made in 1957, is a remake of an earlier MGM movie made in 1934. Here Jennifer Jones plays the invalid poetess Elizabeth Barrett. The film focus primarily on her, but also tells the story of her siblings and her father (John Gielgud). Elizabeth Barrett is an invalid, confined to her bedroom, where she writes poetry. Her father is a stern and tyrannical man, obsessing over her illness, which we are told is a serious heart ailment. Elizabeth meets the poet Robert Browning (Bill Travers), and two quickly form a bond of friendship, which becomes more romantic later on. Elizabeth overcomes much of her illness, urged on by Browning, much to the dismay of her father. Virginia McKenna has a strong supporting role as Elizabeth's sister. She falls in love with a Captain, and incurs her father's wrath; in a cruel and heartbreaking scene, he makes her swear on a bible never to see him again. Elizabeth begins to see her father for who he really is; a man hardened by life and the loss of his wife. In a creepy scene, he seems to profess his love for Elizabeth that clearly has incestuous overtones. Elizabeth knows she has to get away from her father, which she does, marrying Browning. Overall, the film is beautiful to look at; the technicolor is well-done, and the performances are respectable. It is difficult to judge Jennifer Jones in this remake vs. Norma Schearer's in the earlier one, since both were made at different times. Shearer was a more theatrical actress, typical of the 1930's; Jones is more of a natural actress. I think Jones pulls it off nicely. John Gielgud plays his part with all the tyranny and bluster required of him. Bill Travers as Robert Browning is respectable, although at times he seems to yell his lines. THe film drags a bit at times, but overall, as far as remakes go this is a well-made film.

gleywong Throughout this film, I kept thinking of Director Wm. Wyler's adaptation of Henry James's novel, with Olivia de Havilland in "The Heiress." What made that a better movie? was it the casting? the directing? the actor chemistry? or all of the above? Previous reviewers of "Barretts" all praised Gielgud's acting, but I wondered why he accepted the role, or could stand himself in it. I could barely view him on screen, so wooden, so inhuman was his incarnation of Moulton Barrett: this was not a person, it was a caricature. Compare, instead, Ralph Richardson's interpretation of a similar emotion-starved and pathologically driven father in his love for his daughter.As for the casting of Bill Travers as Robert Browning, I felt he lacked any subtlety, any "poetry" in his manner, any semblance of an understanding of female psychology or charm, most of all, lacked any chemistry with Jones as Elizabeth. He seemed to be barking all of his lines as if he were on the football field. Can you imagine his role cast instead with, say David Farrar, or one of the Ealing Studio regulars? Fans of Jennifer Jones may still want to sit through this movie to see her conception of the poetess. But when we compare this role with her performance in, say, "Wild at Heart [Driven to Earth]," the great Powell-Pressburger film, or even "Madame Bovary," it falls far short of full realization. In those films, she revealed passion, coyness, charm and geniune fear, gripping us with the emotions of her predicament. As noted by another reviewer, here she appears far too healthy, even too mature (although that would be an accurate estimation of her actual age when she met Browning, according to her biography) to be believable. Of course we can accept some cinematic license -- we don't have to expect that Mimi should actually be consumptive in "La Boheme"--but Jones's conception confused strength of character with bodily health -- her fainting on the stairs was almost a joke, more a sign of her rare weakness as an actress. In fact, one actually felt more pity for her sister, as portrayed by Virginia McKenna, in a lively,deeply felt role, in which we feared for Henrietta's emotional health and future in that stifling household.So, shall we lay the blame at the foot of the hapless director Sidney Franklin? All the settings, the costumes, even the lovely tune, beautifully sung by Jones at the piano should have offered the right support. The clumsiness of the production is almost encapsulated in that little scene around the piano: when Jennifer sings it (whether or not she herself indeed voiced it), there is lyricism and musicality, and one longs for her to continue, but everyone, namely her brothers, is urged to join in. None of them can really sing, they shout out the melody, drowning Elizabeth's soprano, and the whole scene, at least for this viewer, is ruined. Just like the movie.Of a possible four ****, I give it my lowest rating one star*.

m0rphy Amazingly Sidney Franklin got to direct "Barretts" for the second time since his original 1934 production starring Norma Shearer as Elizabeth, Frederic March as Robert and Charles Laughton as Moulton Barrett.In their roles respectively for the 1957 production were Jennifer Jones, Bill Travers and Sir John Gielgud.I have the videos of both productions so have a means of comparison. I much prefer this 1957 production.Being English, when I hear Americans (Frederic March)who make no attempt to modify their vowels when playing an English character, it sounds so phoney and grates on my ears.The three principal characters in the 1957 film are well cast.Obviously Travers & Gielgud were natives.What is intriguing was casting Jennifer Jones as the famous real life poetess.She is such a fit lady, still with us aged 83,that it was difficult to believe she was supposed to be almost bed-ridden for most of the time.Jennifer had a great love for this part and performed it in an audition piece at the A.A.D.A. with Robert Walker. her future first husband. The plot, set in London in the 1840's is basically about Moulton Barrett, an early Victorian overbearing father who has many sons and daughters but who has a suppressed incestuous desire to control his eldest daughter Elizabeth.It is in his interest to discourage Elizabeth from getting well so she does not have the time to meet eligible suitors.She was conceived in love but the other siblings appear to be the product of his forced attentions on his late wife who presumably died in childbirth. Elizabeth has a gift and love for poetry and writes an epic poem to her beloved "Flush", her King Charles spaniel.She also reads the poetry of the great Robert Browning and they start to correspond with each other.Curiosity overcomes Robert and he visits Elizabeth in her Wimpole Street London W1 address;(the building is no longer there - just a plaque commemorating the site).Romance blossoms and they find they have so much in common.When papa senses what's happening, he plots to hide, more securely, Elizabeth and the other siblings in the country under his tiranical control.Elizabeth's faithful maid acts as go-between between the lovers and eventually leaves with her mistress as she finally leaves the Wimpole street address to get wed in the Marylebone Church,(they actually filmed the scene at the real location), to Robert before a honeymoon in sunny and healthy Italy.Moulton Barrett is thwarted in his spiteful act of intended revenge, since although he wants to put down "Flush" he too has flown the nest. Jennifer Jones was experienced in playing British women,c.f. (Hazel in "Gone to Earth" (1950),Gwendolynne Chelm in "Beat The Devil" (1954).Also of note is Bill Travers' real wife who plays Henrietta who is desparate to marry her soldier boyfriend.There is also a very melodic song which provides a nice music interlude during this film.Very watchable.