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.
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.