Lisa Reviews An Oscar Nominee: The Barretts of Wimpole Street (dir by Sidney Franklin)


The 1934 best picture nominee, The Barretts of Wimpole Street, takes place largely in one room.

That room is a bedroom located in a mansion that sits on Wimpole Street in London.  The room is occupied by Elizabeth (Norma Shearer), a sickly woman who has spent years in bed and who is barely able to walk.  She is the eldest of 11 siblings and all of them live in the house together, under the watchful eye of their tyrannical father, Edward (Charles Laughton).  Edward has forbidden any of his children from ever leaving home.  None of them are to get married.  In fact, none of them are to have even a relationship.  Even when he hears that a trip to Italy could actually improve Elizabeth’s health, he sternly forbids her from leaving.  Edward is obsessed with sin.  As he explains it, he was once a sinner himself.  In fact, he was such a sinner that he sometimes lost control of himself.  Now that he’s a father and a widower, Edward deals with his less savory impulses through constant prayer and he’s determined to never allow his children to fall into sin as well.

Despite her father’s attempts to keep her isolated from the outisde world, Elizabeth has managed to find an escape.  She’s a poet and her words have won her admirers from around world.  One of those admirers is another poet, a young man named Robert (Fredric March), who frequently writes her letters about his love of her work.  One day, in the middle of a snowfall, Robert shows up at the house on Wimpole Street and requests to see Elizabeth.  Robert tells her that her poetry has not only inspired him but it has also caused him to fall in love with her.  When Elizabeth explains that she is dying and cannot leave the bedroom, Robert says that she’s going to live forever.  After Robert leaves, Elizabeth manages to stand and, for the first time in years, walks over to the window to watch as he departs.

Sounds like a perfect love story, right?  Well, there’s a problem.  Edward has absolutely no intention of allowing Elizabeth to leave the house, regardless of how much her health improves after her initial meeting with Robert.  He is determined to keep her in that bedroom and, this being a pre-code film, it becomes obvious that there’s more to Edward’s behavior than just being an overprotective father.  Though the dialogue may be euphemistic, Edward’s incestuous desires are plain to see.  It’s there every time that he leers as his daughters while also saying that he’ll be sure to pray for their souls.  It’s there in the film’s final moments, when Edward makes a request that’s so dark and cruel that it will take even a modern audience by surprise.  Charles Laughton played a lot of villains over the course of his long career but Edward is perhaps the most monstrous.

As a film, The Barretts of Wimpole Street is undeniably stagy and it’s a bit overlong as well.  Charles Laughton so dominates the film with menace that he threatens to overshadow not just March and Shearer but also Maureen O’Sullivan, who plays one of Elizabeth’s sisters.  But no matter!  I absolutely love The Barretts of Wimpole Street.  The house is gorgeous, the plot is wonderfully melodramatic, and Shearer and March both have a wonderful chemistry.  You can debate whether or not March and Shearer are credible as poets but, ultimately, what matters more is that they are totally believable as soul mates.  From the minute they first meet, you simply buy them as a couple that is meant to be.  Robert’s earnestness is perfectly matched with Elizabeth’s growing strength and it’s impossible not to cheer at least a little when Elizabeth first manages to walk down a staircase without collapsing.

Of course, as any student of literature should be aware, Robert is Robert Browning and Elizabeth is Elizabeth Barrett.  In real life, Robert Browning did arrange a meeting with Elizabeth after having read her poetry and, as well, it’s been said that Elizabeth’s father did not approve of her relationship with Robert.  It’s also apparently true that Edward actually did disinherit any of his children who married.  As for the other details of Edward’s depiction in The Barretts of Wimpole Street, it’s unknown how close to the truth Laughton’s performance may have been.

The Barretts of Wimpole Street is a wonderful historical romance.  It was Oscar-nominated for best picture, though it lost to a far different romance, It Happened One Night.

Lisa Reviews An Oscar Nominee: The Human Comedy (dir by Clarence Brown)


The-human-comedy-1943Thanks to TCM’s 31 Days of Oscar, I now have several movies on my DVR that I need to watch over the upcoming month.  Don’t get me wrong — I’m not complaining.  I’m always happy to have any reason to discover (or perhaps even rediscover) a movie.  And, being an Oscar junkie, I especially enjoy the opportunity to watch the movies that were nominated in the past and compare them to the movies that have been nominated more recently.

For instance, tonight, I watched The Human Comedy, a film from 1943.  Along with being a considerable box office success, The Human Comedy won on Oscar (for Best Story) and was nominated for four others: picture, director (Clarence Brown), actor (Mickey Rooney), and black-and-white cinematography.  The Human Comedy was quite a success in 1943 but I imagine that, if it were released today, it would probably be dismissed as being too sentimental.  Watching The Human Comedy today is something of a strange experience because it is a film without a hint of cynicism.  It deals with serious issues but it does so in such a positive and optimistic manner that, for those of us who are used to films like The Big Short and Spotlight, a bit of an attitude adjustment is necessary before watching.

And yet that doesn’t mean that The Human Comedy is a bad film.  In fact, I quite enjoyed it.  The Human Comedy is a time capsule, a chance to look into the past.  It also features a great central performance, one that was quite rightfully nominated for an Oscar.  As I watched Mickey Rooney in this film, I started to feel guilty for some of the comments I made when I reviewed Mickey in The Manipulator last October.

2Mickey Rooney in The Human Comedy

The Human Comedy opens with an overhead shot of the small town of Ithaca, California.  The face of Mr. McCauley (Ray Collins, who you’ll recognize immediately as Boss Jim Gettys from Citizen Kane) suddenly appears in the clouds.  Mr. McCauley explains that he’s dead and he’s been dead for quite some time.  But he loves Ithaca so much that his spirit still hangs around the town and keeps an eye on his family.  Somehow, the use of dead Mr. McCauley as the film’s narrator comes across as being both creepy and silly.

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But no sooner has Mr. McCauley stopped extolling the virtues of small town life than we see his youngest song, 7 year-old Ulysseus (Jack Jenkins), standing beside a railroad track and watching a train as it rumbles by.  Sitting on the cars are a combination of soldiers and hobos.  Ulysseus waves at some of the soldiers but none of them wave back.  Finally, one man waves back at Ulysseus and calls out, “Going home, I’m going home!”  It’s a beautifully shot scene, one that verges on the surreal.

That opening pretty much epitomizes the experience of watching The Human Comedy.  For every overly sentimental moment, there will be an effective one that will take you by surprise.  The end result may be uneven but it’s still undeniably effective.

The majority of the film deals with Homer McCauley (Mickey Rooney).  Homer may still be in high school but, with his older brother, Marcus (Van Johnson), serving overseas and his father dead, Homer is also the man of the house.  Homer not only serves as a role model for Ulysseus but he’s also protector for his sister, Bess (Donna Reed).   (At one point in the film, she gets hit on by three soldiers on leave.  One of them is played by none other than Robert Mitchum.)  In order to bring in extra money for the household, Homer gets a job delivering telegrams.

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In between scenes of Homer in Ithaca, we get oddly dream-like scenes of Marcus and his army buddies hanging out.  Marcus spends all of his time talking about how much he loves Ithaca and how he can’t wait for the war to be over so he can return home.  One of his fellow soldiers says, “I almost feel like Ithaca is my hometown, too.”  Marcus promises him that they’ll all visit Ithaca.  As soon as the war is over…

With World War II raging, Homer’s job largely consists of delivering death notices (and the occasional singing telegram, as well).  Telegraph operator Willie Grogan (Frank Morgan) deals with the burden of having to transcribe bad news by drinking.  Homer, meanwhile, tries to do his job with compassion and dignity but one day, he has to deliver a telegram to his own house…

The Human Comedy is an episodic film, full of vignettes of life in Ithaca and Homer growing up.  There’s quite a few subplots (along with a lot of speeches about how America is the best country in the world) but, for the most part, the film works best when it concentrates on Homer and Mickey Rooney’s surprisingly subdued lead performance.  By today’s standards, it may seem a bit predictable and overly sentimental but it’s also so achingly sincere that you can’t help but appreciate it.

The Human Comedy was nominated for best picture but it lost to a somewhat more cynical film about life during World War II, Casablanca.