Redwarmin This movie is the proof that the world is becoming a sick and dumb place

Listonixio Fresh and Exciting

BeSummers Funny, strange, confrontational and subversive, this is one of the most interesting experiences you'll have at the cinema this year.

Bea Swanson This film is so real. It treats its characters with so much care and sensitivity.

FilmOtaku "The Barretts of Wimpole Street" (1957) tells the story of the romance of real-life poets Elizabeth Barrett and Robert Browning, despite many odds. In 1840's London, the Barrett household is one of fear and unhappiness. Elizabeth, (Jennifer Jones) the oldest child of the family, has been sick and forced to stay in her bedroom for the last several years. Also in the household are her two sisters and five brothers, all of whom are under the thumb of their tyrannical father, Edward (John Gielgud) a widower who found that since he lost the love of his life, he would not allow any of his children to marry either, in particular, Elizabeth, the one daughter who he claims to love. Elizabeth has been corresponding with a young poet Robert Browning (Bill Travers), however, and finds that the more she falls in love with him, the healthier she gets, but the healthier she gets, the more desperate and tyrannical her father gets.The story as I told it sounds like it could be kind of interesting and fun in a high-drama type way, which is what I was expecting, but it actually was pretty boring. And when it wasn't boring, it was creepy. Gielgud is a great actor of course, and was great as Robert Browning, a man who needed to look up Freud in a couple of decades. His devotion and stranglehold on Elizabeth was actually pretty disturbing, particularly when his desperation grew to a fever pitch at the end of the film. I have never liked Jennifer Jones, and I didn't like her in this movie. I'm not sure what it is about her exactly, other than the fact that I consider her a mediocre actress – perhaps it is because she always has this look on her face that is a weird cross between anguish and when you feel a sneeze coming on. With a story as bizarre as this one, so much more could have been done to make this film a good one, but unfortunately it just turned out mediocre at best. 4/10 --Shelly

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.

peacham Although not as engaging as the original play, This film adaptation of BARRETTS OF WIMPOLE ST is a very well made film. John Gielgud gives one of his finest screen performances as Edward Barrett, he is despicable yet worthy of pity. Jennifer Jones is strong as Elizabeth and her character unfolds beautifully before your eyes. The actors who play the clan of brothers nicely delineate each role so they are individuals and not a unit. this film does suffer a bit from the over emphasis on the elizabeth/browning relationship as opposed to the father/daughter one but I suppose this was the hollywood trend toward romance at the time.