Gaby

The plot may be hackneyed (see previous review), but the performances ring true, and Leslie Caron is nothing less than sterling. Also, the dialogue in the script (written by veterans Sherwood and Behrman) holds up after these many years and sits better on my ears than many a television or even movie script today.

"Gaby" reminds me of the film Caron did later about the effects of war on ordinary people in London, "The L-shaped Room (1962)," in which she appears more sophisticated, also falling in love with an Englishman, but in which there is no committment on his part and no "happy ending." As the American serviceman, Kerr is a bit stiff in the beginning of this movie, but eventually grows into his role, and Caron is supple as a dancer in her timing and delivery, her English impeccably musical and her face still retaining the innocence and bit of "baby fat" that we cherish in her "American in Paris" debut. Because she had such thorough ballet training, people tend to remember her in the many musicals with ballet routines, but Caron was equally good, possibly even better, in pure drama, such as these two films. Of course, the director should be given credit for drawing out the genuine emotion in her performances, but she could also do comedy, with that great timing that she had (see her in "Last of the Blonde Bombshells" which she did at age seventy with Judi Dench.)

Caron has an authenticity and committment in her roles that comes across on screen for me the same way Audrey Hepburn does, and did from the very beginning, in her "Roman Holiday" debut. Not only were Caron and Hepburn real persons with inner lives (who not so incidentally had witnessed and survived WW II) when they were tapped by and discovered for the movies, they also didn't go through the technical hoops of acting training that the professionals of today bring to similar roles. Actresses of today tend to bring more training and "acting talent" to their roles, but less inner complexity, resulting in, for me, a less authentic performance, regardless of the high budget and publicity hoopla.

Supporting roles by Taina Elg, Cedric Hardwicke and Margallo Gillmore also do not let the movie down. Taina is better in "Gaby" than in the frivolous but enjoyable "Les Girls." And Hardwicke had such a distinguished career that one cannot imagine him consenting to play this very minor part if he didn't think the whole project worthwhile. In sum, highly recommended and requiring hankies for the vulnerable.

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.

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.

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.

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.