Gaby

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.

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

By the 1950s, remakes were very much the thing - 'Gaby', with Leslie Caron as the ballerina and John Kerr as the soldier, is the third film version of 'Waterloo Bridge' (first done with Mae Clarke and Kent Douglass in 1931, then with Vivien Leigh and Robert Taylor in 1940). It's by far the most dull, even though it does make clear what Gaby has been up to while her beau was away at war.

Leslie Caron being the star, of course Gaby is now French, not English. John Kerr is a GI who finds himself at a loose end on leave in London. There's air raids to content with, foggy streets, and taxis, as well as Gaby's fellow dancer and roommate, and the GI's English well-heeled relations.

Sweet enough, but paling in comparison beside the other versions, both of whom have more merit. It's OK - but nothing special.

Basically for fans of Leslie Caron. A sweet, innocent ballerina working in England during WWII becomes a "loose" woman after she presumes that her "love-at-first-sight American G.I. fiance is dead. Prostitution is strongly hinted at, and she feels ashamed after he turns up "crippled" but quite alive. Beautifully filmed in CinemaScope and Eastman Color, which does add something to the movie. Quite unbelievable, but if you are a fan of Caron, you will enjoy this move as she has great "screen presence" and makes it an earnest performance that outshines the material. Certainly no "Gigi" or "Lili", to be sure.

After revisiting ' The L-Shaped Room ', which is among the few films I watch often, I paid another visit to my worn out copy of ' Gaby ' which I equally love. I have never compared it to the previous films of ' Waterloo Bridge ' because I feel it stands on its own merits which are considerable. To begin with both Leslie Caron and John Kerr are in my opinion well cast together and although it is set during WW2 the 1950's feel of it does not irritate at all. Kerr is gauche and very young, but then he is supposed to be and Caron is a match for that with her ( sometimes ) wonderfully natural acting ability. They are a lovable pair going through difficult times, and when he leaves her and she thinks he is dead she does not resort to prostitution. The scene where she tenderly reaches out to a distraught Polish soldier is one of the most moving in the film. My interpretation is that she gives these kind of men a sort of loving because they are in her eyes the love she has lost and grieves for. No money transaction is mentioned, and this makes it a very different and equally valid version of the former two films. Yes, the Code and its constraints were severe, but what I see on the screen is a fine love story almost ruined by the chaos of war. No spoilers for the ending, but it is moving and totally believable. Leslie Caron is a great actress and she is utterly beautiful in her face, in her gestures and in her inimitable voice. There is magic too in the plot in a restaurant scene where the inference is that they have met before, where or when they do not know. And both of them play it to perfection. It is a simple rendering of its source material and by simple I mean simplicity of loving in its highest form. I have watched it countless times and each time I find it enriching. Kerr is no Robert Taylor and neither should he be and Caron is equal to Vivien Leigh but in her own special way. My suggestion is to track down the film and put all comparisons out of mind and perhaps the magic of it will haunt you, like it has haunted me over the years.