Norma is Bedridden

Based on the 1930 play by Rudolf Besier (which premiered on Broadway in 1931 with Katherine Cornell and Brian Aherne in the lead roles), Barretts of Wimpole Street (1934) tells the story behind the courtship and marriage of Elizabeth Barrett and Robert Browning.  The Barrett family live in a large house in London with their father, Edward Moulton-Barrett (Charles Laughton).  The six brothers and three sisters have been forbidden to marry by their father, who rules the home with an iron hand.  Elizabeth, the eldest child (Norma Shearer) and a highly regarded poet, is his darling; that she is bedridden, and therefore quietly dependent upon him is no small part of his affection. The arrival of poet Robert Browning (Fredric March) at Wimpole Street, who comes to discuss her poetry, but leaves totally enamored of her, changes the dynamic between father and daughter, as Elizabeth begins to get well, and to envision a life outside the environs of Wimpole Street.

History according to Hollywood is a fascinating thing, and this film is ripe for comparison to the actual facts.  For the most part, the story is a quite accurate portrayal of the courtship between Elizabeth Barrett and Robert Browning.  The large Barrett family did all live together in Wimpole Street, and were forbidden marriage by their domineering father.  Elizabeth was the first to wed (and her elopement actually put some stress on her relationship with her brothers); she was immediately disowned by her father. Henrietta (Maureen O'Sullivan) was romantically involved with Captain Surtees Cook (Ralph Forbes); they ultimately married and had three children.  Elizabeth's brother Alfred also married before his father's death; both he and Henrietta were disinherited. (See The Brownings' Correspondence)   Elizabeth did seem to recover some of her health after meeting Robert Browning, and Mr. Barrett did forbid Elizabeth to go to Italy for her health. In 1846, Elizabeth and Robert eloped to St. Marylebone Church with Elizabeth's maid, Wilson (Una O'Connor) in attendance; within the week, they left for Italy, where they remained for the rest of Elizabeth's life. In 1849, Elizabeth gave birth to her only son, Robert "Pen" Browning (she suffered four miscarriages). Elizabeth died at age 55 in 1861.  After her death, Robert returned to England with Pen; they moved to a residence close to Anabel Barrett (Katharine Alexander), who acted as a surrogate mother to Pen and a confidant to Robert.  Robert would live until 1889, age 77. (The Poetry Foundation)

Charles Laughton, as the Barrett patriarch is impressive.  Though only three years older than Ms. Shearer, he sears the screen with his overbearing and frightening presence.  Laughton is not afraid to make Mr. Barrett a monster. In fact, when he was told by producer Irving Thalberg that, thanks to the censors, the film would need to play down the incest angle of Barrett's affection for his eldest daughter, Laughton objected, telling Thalberg that "...they can't censor the gleam in my eye."  (TCM article).

Allegedly, Fredric March was disappointed with his performance, feeling that director Sidney Franklin was more interested in the character of Elizabeth, and that his performance suffered by comparison. March felt his performance was too over-the-top, and while he is quite passionate and exuberant, we really felt it worked. Browning was 6 years younger than Elizabeth; March's performance emphasizes that age gap, and also transmits the idea of someone who really could transfer his strength into the body of a sick woman.  We found him to be delightful and even the New York Times in their review was rather complimentary.

It's only thanks to Mr. Thalberg that Ms. Shearer agreed to play Elizabeth - she was unsure of taking on a role so closely linked to Katherine Cornell (though Ms. Cornell was not interested in appearing in films - she would eventually do ONE - she appeared in Stage Door Canteen during the second World War.) But she is lovely in the role; she was nominated for an Oscar for the performance (she lost to Claudette Colbert in It Happened One Night). The film was also nominated for a Best Picture Oscar (also losing to It Happened One Night). Marion Davies was originally set to star (William Randolph Hearst yearned for his lady to play more serious parts). However, Ms. Davies bowed out (after a conversation with Ms. Shearer).  Ms. Davies was much happier in her comedies and was not comfortable with appearing in such a serious part (AFI Catalog). 

Una O'Connor  as Wilson is wonderful. Ms. O'Connor plays the part more as a surrogate mother to the ailing Elizabeth, and less as her servant.  With a walk that makes her almost appear to glide across the screen, and her stubborn determination to protect her charge, Ms. O'Connor is a delight.

We were somewhat less enthralled with Marion Clayton as Barrett cousin Bella Hedley and Ian Wolfe as her fiance Harry Bevan.  Their odd speech patterns (she with a little girl lisp and he with an affected upper class tone) just seemed pointless. We kept wanting them to just shut up and go away. (Bella does serve a purpose to the overall story; Harry, not so much).

The costumes, as designed by Adrian, are magnificent, especially Elizabeth's fur ensemble at the end of the film.  The play was primarily set in Elizabeth's sitting room, and the film really does very little to extend it from that location (we do outside once with Henrietta, and to Browning's home with Wilson. The rest of the film is set in the Barrett house, and is Elizabeth's perspective) .  Despite that, the film is entertaining and not in the least claustrophobic. 

The success of the play and this film led to it being remade at least 10 times for radio, film and television.  In 1946, Lux Radio Theatre broadcast a version starring Loretta Young and Brian Aherne - Mr. Aherne reprising his stage performance as Robert Browning.  In 1950, Helen Hayes starred as Elizabeth on television's Prudential Family Playhouse.  Another television production followed in 1955 as part of the Front Row Center series, this time starring Geraldine Fitzgerald as Ba. The Producers' Showcase series in 1956 scored a coup, convincing Katherine Cornell to reprise her Broadway role.  There were also two film versions: one in 1957, with Jennifer Jones; and a second in 1982, with Jane Lapotaire and Jeremy Brett.  

We'll leave you with the scene from the film: 

Bette Elopes

After Geoffrey Sherwood (Ian Hunter) is jilted by Valentine French (Katharine Alexander), Geoff goes on a bender, and shows up, quite drunk, outside of the church where Valentine is marrying the wealthy John Marland (Colin Clive).  Two police officers are about to arrest Geoff when Miriam Brady (Bette Davis) steps in and hurries Geoff to a restaurant to cool down and sober up.  When Geoff's friends (Hugh Brown and Tony Hewlitt, played by John Eldredge and Phillip Reed) suggest that Miriam can perhaps stay with him and keep him away from the wedding festivities, she agrees to remain with for a few hours.  However, by evening's end, she has become somewhat tipsy and ends up married to Geoff.  Though Miriam is ready to get an immediate divorce, Geoff suggests that marriage might be good for the two of them, and they decide to give it a go.  But, as Geoff's new business begins to become successful, and Valentine gets bored with her husband, the marriage is threatened. 

Thus begins The Girl from 10th Avenue (1935).  This is a very tightly scripted piece.  There's not a lot of fluff, and with a running time of 69 minutes, the story moves quickly from one scene to another. It's an excellent cast, with Davis at her most appealing as the down-to-Earth Miriam.  A working girl in the best sense of the word, Miriam has lost her job sewing labels into clothing.  Her education is fairly limited, but she is happy to learn from her upper-crust husband.  Eager as she is to please Geoff, however, she never loses her moral compass.  In that sense, she is reminiscent of  Madalaine in recently discussed Child of Manhattan. Bette Davis is able to imbue her with a aura of capability and integrity that makes Miriam a strong and attractive character.

We were sorry not to have seen more of Colin Clive, who is wasted really in the role of John Marland.  He only gets a few scenes, and John is a fairly passive role; he is constantly manipulated by his wife, and seems uninterested in anything requires effort.  Regardless, we wanted to see more of him, and see the character better fleshed out.  Clive is probably best known today for his title role in Frankenstein (he was the Dr., NOT the monster!!), but he also played Rochester in the 1934 Jane Eyre and was in the cast of Clive of India, which was the story of one of his own ancestors (no, he didn't play the historical Clive).   Colin Clive started his career on the London stage, and was cast as a replacement for Laurence Olivier in Journey's End, a role he reprised in the film version (with director James Whale, who would later cast him in Frankenstein).  His career was short - he died in 1937, at age 37 from pneumonia, exacerbated by his severe alcoholism.  His wife did not come to the funeral.

The part of  Valentine is ably played by Katharine Alexander.  We've seen her before in the film In Name Only as Carole Lombard's sister, Laura, and as Claude Rains' favorite nurse in Now Voyager.  She gives Valentine a supercilious air, which is effective in playing up the differences in upbringing between her and Miriam.  It also makes her eminently unlikeable.  Thus, it's hard to envision why two men are so passionate about her.  She's cold, and cruel.  She's also no beauty (though she does have a phenomenal wardrobe).  Alexander had a interesting end to her career.  As film roles began to diminish, she went to London, where she appeared in the Paul Muni production of Death of a Salesman, playing Linda Loman.   Her reviews were outstanding, so Alexander decided to go out on a high note, and retired after  her success there. She died in 1981, at the age of 83, 

Finally, there is my personal favorite character in the film, Mrs. Martin, as played by the always wonderful Alison Skipworth (Mrs. Martin).  We are familiar with her from previously viewed films, such as Devotion and The Gorgeous Hussy.   In this film, she plays a former showgirl (who "almost" prevented the birth of Tony Hewlitt.  Seems his father proposed to her).  She owns the building in which Miriam has an apartment, and becomes a second-mother and tutor to the girl.  Though Mrs. Martin is, as we learn, quite sassy, she is tactful as she tries to instruct Miriam in correct grammar and behavior.  But when Marian finally confronts Valentine in a restaurant, it is Mrs. Martin that we watch.  Her enjoyment of the situation is very funny. 

We leave you with a reference to an excellent article from TCM, the film's trailer, and brief bit of trivia about the title.  Why is Miriam from 10th Avenue? Well, in 1935, the part of 10th Avenue on which she lived was called "Hell's Kitchen", and was best known for the its poor, working-class - and tough - inhabitants.  

Kay Wants to be a Mentor

Play Girl (1941) features Kay Francis as Grace Herbert.  Grace has spent most of her life living off men (her favorite gambit is the "breach of promise" lawsuit), and has been quite successful at it.  However, now that she is no longer in the bloom of youth, she is finding it harder to live in the lifestyle to which she has become accustomed.  She's in debt; forced to sell her most valuable piece of jewelry just to pay the rent, and finance a trip to new stomping grounds in Miami.  Enter pretty Ellen Daly (Mildred Coles), a stenographer who Grace sees as a potential mentee - Grace will teach Ellen how make her living by romancing - and dumping - wealthy men.

En route to Miami, the car breaks down, and Tom Dice (James Ellison) stops to held.  Ellen is immediately smitten, but Grace is not intrigued by the seemingly destitute young man, so she makes sure he and Ellen lose touch while she entices the vain Bill Vincent (Nigel Bruce) to become Ellen's sugar daddy.  

This is a well-paced and enjoyable film, primarily because of the excellent performances.  Kay Francis creates an especially an attractive person in Grace - she seems to regard Ellen as a daughter, and in her own way, Grace is honest. Even when Ellen is not available, Grace regards Ellen's earnings as sacrosanct.  We also have a good ingenue in Mildred Coles.  She does a nice job of being innocent without appearing stupid, and her hesitancy about what she is doing makes her more appealing.  Coles had a very short career - only 26 films between 1939 and 1948, most of which were bit parts.  She died in 1995; why she left films is not clear.

Two character actresses who just don't get enough press are also in this film.  First, and foremost is Margaret Hamilton as Grace's loyal companion and maid, Josie is both confidante and adviser to Grace; she has been there through the good times, and will stick during the bad.  And of course, she gets all the best lines!  Katharine Alexander (Mrs. Dice), plays James Ellison's mother.  There is a 12 years age difference between her and Ellison, but she doesn't look old enough to be his mother.  Nevertheless, she is quite good in the part, playing a warm and likeable person.  You don't see her for very long, but you remember her at the end.  Alexander's film career went from 1930 to 1951.  As movie roles became harder to come by, she went to the stage, ultimately playing Linda Loman in the 1949 London production of Death of a Salesman, got sterling reviews, then retired within two years.

The credit sequence, which features lovely shots of expensive jewelry, was fun, and really served as a taste of the film's theme.  As always in Kay Francis' films, the costuming and scenery are great; though now she is at RKO, her contract at Warner's at an end.  This article from TCM looks describes in some detail the problems that were facing Francis after she was included on the "Box Office Poison" list from 1938 (yes, that one).  Though the men here are mere ornaments to the female characters, we did enjoy the "sauna" scene in which Bill and Van (G.P. Huntley) scheme to bring Grace down. By 1941 standards, this film is rather racy, and while not great, it's a fun 77 minute visit with Kay Francis.