Gaby

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

It's 1944 London. American soldier Gregory Y. Wendell (John Kerr) is on leave and falls for French ballerina Gaby (Leslie Caron) at first sight. He pursues her until she accepts his marriage proposal. They have to wait while he leaves for D-Day. He goes missing and presumed dead. She is heartbroken and decides to live for herself.

This is the third iteration of the 1930 play Waterloo Bridge. This feels light. Neither actor is doing heavy lifting in their performances. I do appreciate the lovely pixie Leslie Caron. The lightness does not fit the later dark material. In the end, this never fully gains traction.

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.

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