Gaby

The story of Waterloo Bridge is boring, melodramatic, and not worth remaking. Yet, in 1956, Hollywood produced a remake starring Leslie Caron and John Kerr. She looked incredibly beautiful, and her innocence was radiating. Kerr seemed to be nearly the same as he was in Tea and Sympathy, but since they were the same year, perhaps he just got his characters confused. If she weren't so pretty, I probably wouldn't have stuck through the movie.

If you don't know the story, it features a soldier on a brief leave who falls for a chorus girl in London. They have a whirlwind courtship, and when he's sent back to the front, she worries terribly. She makes a terrible decision, which makes no sense, given her character, and ruins her life. Since the remake starred Leslie Caron, the English chorus girl was changed to a French ballet dancer. Neither one was really given a reason to fall in love so quickly, hence the melodrama of the story. And although this version was watered down quite a bit to appeal to the censorship board, I still don't think her choice makes sense. If you love Leslie like I do, just stick with Gigi.

During World War II, American paratrooper John Kerr (as Gregory "Greg" Wendell) arrives in London on a 48-hour pass. Making his way out to find female companionship, Mr. Kerr collides with pretty French ballerina Leslie Caron (as Gaby). He is smitten. She is not. After watching her dance, Mr. Kerr visits Ms. Caron backstage. She gradually becomes interested and they begin a whirlwind romance. They want to consummate, but are unable to get married due to their alien status. Caron decides to "save herself" (like they used to say) while he goes back into battle. Alas, he's reported dead. Feeling bad about not giving Kerr something to remember, Caron decides to give it up for other soldiers...

It turns out the news about Kerr wasn't exactly accurate...

"Gaby" has been criticized for sanitizing the opening status of Caron's character and altering the original ending of Robert E. Sherwood's play "Waterloo Bridge" (1930), which previously impressed film critics in versions starring Mae Clarke (1931) and Vivien Leigh (1940). However, the important alteration is in timing; note, the explicit exchange where Caron ends with, "Not a man, Greg…MEN!" The problem, this time, is that Caron shows little degradation during this period; she appears chic and confident, throughout. The different ending, while not as memorable, can be applauded for not punishing "Gaby" for her perceived "sinful" behavior. The revisions aren't as bad, as they seem...

Possibly restrained by the production values, director Curtis Bernhardt is unable to give the story enough intimacy...

Caron could have shown some interest in Kerr during their first encounters, and still been standoffish. They're supposed to be drawn to each other, as if they were destined to meet. This is touched upon in a scene hinting at reincarnation. The reincarnation mention may have also been included to support MGM's use of "Where or When" (by Rogers and Hart) as the film's theme. The timeless song is used well. Another revision is having Kerr sustain a symbolic wound; yet, it is another addition which doesn't fully take full advantage of the dramatic opportunities. Veteran stage actress Margalo Gillmore (as Helen Carrington) has a couple of outstanding scenes. In spite of all, the co-stars are a nice couple.

****** Gaby (5/9/56) Curtis Bernhardt ~ Leslie Caron, John Kerr, Taina Elg, Margalo Gillmore

The 1931 and 1940 films, both named 'Waterloo Bridge', are very highly recommended, and are very good films in their own right with the slight edge going to the 1940 film despite being less faithful to the original story.

Although it is a long way from a bad film, 'Gaby' isn't in the same league. There are a lot of things to like, with the best things being Leslie Caron, who despite being unconvincing as a prostitute (and the transition is even less convincing) beguiles and charms in the lead, and the luminous Metrocolor cinematography that gives the film a quaint 1950s sheen, the use of Cinemascope is also striking.

Further great assets are the beautiful and never too sugary or melodramatic music score, and the timeless Rodgers/Hart-penned "Where or When". The two French songs ("Sur Le Pont D'Avignon" faring the slightly better of the two), "My Country Tis of Thee" and Chopin's Piano Concerto are also well used, just not leaving as big an impression in the film as "When or When". The dialogue is thought-provoking, some of the sets are nicely done and atmospheric and the supporting cast especially a distinguished Cedric Hardwicke acquit themselves very well.

However, John Kerr's performance is very one-dimensional, with stiffness and awkwardness being the only real emotions he shows. Even those not completely enamoured with Robert Taylor's performance in the 1940 film will find themselves appreciating it more after seeing Kerr, I certainly did. His chemistry with Caron is quite bland too. 'Gaby' is also very dully directed by Curtis Bernhardt, with the film never seeming to find proper momentum.

It is agreed that there is a lack of atmosphere- the 1931 film was gritty, at times steamy and dark while the 1940 film while, due to the Code and its constraints, tamer and more romanticised was very lovingly romantic, lavish and incredibly poignant. These are things that, other than a lavishness in the cinematography and some of the costumes and sets, 'Gaby' lacks, dullness and glimpses of sugary charm being the primary feelings here. The ending is pure contrived tack, as problematic as the ending of the 1931 film was it was still more believable than this, and things are all far too easily forgiven. Gaby's transformation is too sudden, and some of the sets are on the cheap and cobbled together side.

All in all, watchable thanks to Caron and the cinematography, but anybody who loved the previous two 'Waterloo Bridge' film adaptations like this reviewer did will find themselves disappointed. 5/10 Bethany Cox

All and all this is not a bad movie, and Leslie Caron is truly one of those actresses whom you just can't help falling in love with, she has that magical presence that is the mark of a great actress, and even thou it's not one of her best her performance, her performance in this movie is definitely impeccable, but still this movie it's essentially a lightweight remake of the three times before filmed Waterloo Bridge, so even thou Leslie Caron is as always charming, I suggest a peek at Vivien Leigh as the delicate dancer Myra and Robert Taylor as Col./Capt. Roy Cronin in the 1940 release of Waterloo Bridge, a movie that is (even thou slightly forgotten) undoubtedly one of the best romantic movies ever made.

This film is a re-make of "Waterloo Bridge" which I saw many years ago. It was an atmospheric love story with sterling performances from Vivien Leigh and Robert Taylor. The original play was by Robert E. Sherwood, also known for "The Petrified Forest".

This re-make fails on several counts. First of all there is almost no atmosphere. There is beautiful saturated color and cinemascope, neither of which add anything specific to the story. Furthermore, the sets in many scenes, especially at the end in the bombing, are so obviously fake you can almost imagine stagehands picking up the pieces for the next performance.

Second, no matter how hard she tries, Leslie Caron is not convincing as a prostitute. As a dancer, yes. When she abandons dance for prostitution we do not see a transition. She gives as a reason for her actions remorse over sending Greg away before their love was consummated. Now that he is dead, she wants to give others what she deprived him of. A rather shaky rationalization.

Third, no matter how hard he tries John Kerr is incapable of playing a grown-up. He is forever the boyish young man, awkward in speech and movement.

The film does not have a smooth trajectory. The individual scenes seem to be patched together.

The ending, likewise, is not convincing. He forgives her as if all she had done was to ruin the soufflé. They seem like two kids in love playing around with adult games.

The fault for all of this lies in the general concept of this particular re-make, which the producers obviously felt had to be more sugar-coated for the audience of the mid-fifties, unwilling, no doubt, to accept Leslie Caron as a bad girl. But in the end, nothing is gained by this strategy.

However, there is still some charm - almost unavoidable when Leslie Caron is the star - and some moments that show the promise of what might have been a very good movie.