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.

Copyright 1957. A Metro-Goldwyn-Mayer picture. New York opening at the Radio City Music Hall: 17 January 1957 (ran two weeks). U.S. release: 1 February 1957. U.K. release: 1 April 1957. Australian release: 27 May 1957. 9,453 feet; 105 minutes. SYNOPSIS: Tyrannical Victorian father keeps his grown-up daughter a virtual prisoner in his Wimpole Street (London) home.NOTES: The stage play opened on Broadway at the Empire on 9 February 1931 and ran 372 performances. Katharine Cornell and Brian Aherne starred. The 1934 film starred Norma Shearer, Charles Laughton and Fredric March, and, like this version, was directed by Sidney Franklin. COMMENT: Originally designed as a vehicle for Grace Kelly, this lifeless re-make, filmed entirely in England, was the first movie Franklin had directed since "The Good Earth" (1937). He produced twelve features in the intervening years. This version of Barretts was also the second last film with which Franklin was associated in any capacity. It is a sad farewell to an often distinguished career, dating way back to 1914.Fortunately the movie is redeemed in part by Sir John Gielgud who makes his Barrett such a monster incarnate, he acts everyone else – except Susan Stephen (in the small but important part of Bella Hedley – right off the screen. No wonder Jennifer Jones makes such a pallid Elizabeth. But at least she is watchable. Bill Travers, on the other hand is an absolute disaster. Although he tries hard to make his dull, slow voice move impetuously, his "exuberance" takes the form of repeating everything twice. True, he does seem to have more than his fair share of stilted dialogue, but repeating it does not make it sing, it only makes it worse. Franklin's 1934 version had a force and intensity, this monotonously routine, watered-down, slow, overly mannered, and – aside from Gielgud and Stephen – totally insipid version signally lacks.

"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.

This version of The Barretts Of Wimpole Street lacks for nothing, it's certainly an improvement over the 1934 version in a technical sense with the wide screen and color. It even has the same musical theme that Herbert Stothart wrote for the earlier version that starred Norma Shearer, Fredric March and Charles Laughton.Jennifer Jones was following in some mighty big footsteps in portraying Elizabeth Barrett. Not only Norma Shearer's, but Katherine Cornell who originated the role in the original Broadway production in 1931 which ran for 370 performances in those Depression years. That is something that should tell you more than anything else about how good this play is. Jen creates her own sense of intelligent regal beauty as the frail poetess who summons up the courage and strength to stand up to her tyrannical father.Charles Laughton was widely quoted as saying that in his portrayal of the issue ridden Moulton Barrett, the censors couldn't censor the gleam in his eye to get past the Code. The Code by 1957 was cracking and John Gielgud used a couple of direct physical moves rather than camera closeups to show his incestuous feelings for his daughter. Gielgud still gives a fine account of himself, though Mr. Laughton set the standard for that role. On stage it was originated by Charles Waldron who moviegoers will best remember from his last part as General Sternwood in The Big Sleep.Bill Travers plays a somewhat different Robert Browning than Brian Aherne on stage and Fredric March on the screen. Both of those men are refined types and Browning is a bit more boisterous in this film than he was in the previous one. Still he's ready to do right by Jones and take her from the tyranny she lives under.Though the 1934 film is an MGM classic, none of the people associated with this version have anything to be ashamed about. This is a story that could be made today. I can see the casting already, Hugh Grant as Robert Browning, Kate Winslet as Elizabeth Barrett, and Tom Wilkinson as Moulton.I'd pay for a ticket to that. Until then we have two very good classic screen versions.