La donna che non si deve amare

Mae Clarke does a remarkable job in the same year that James Cagney put a grapefruit in her face in "Public Enemy." Miss Clarke is quite effective as the heroine of "Waterloo Bridge."

As a prostitute working the streets of London during World War 1, Clarke gives a tour de force as a woman who can be loving one moment and difficult to handle in the next.

The story deals also with class warfare when during an air-raid, Clarke meets a wealthy Canadian serving in the British army. He falls for her and she loves him but she knows that their differences would prevent them from true happiness. Brought to his country estate, his kindly mother, played by a charming Enid Bennett, warns against such a liaison. Fred Kerr, as his step-father, provides comic relief as a deaf elderly British officer.

One weak link in this film is Kent Douglass, who portrays the young man. Naive and kind, the chemistry is really not there between himself and Miss Clarke. He is only effective briefly in a scene with veteran actress Ethel Griffies, who portrays a greedy, conniving landlady.

The film has worn well through the many years and is worth seeing due to Miss Clarke's excellent performance. Am sure that Vivien Leigh and Leslie Caron, who both starred in the remakes, learned a lot from Miss Clarke. Look for Bette Davis as Douglass's sister. This was her first film and it is interesting to see how she evolved into the great talent that she was.

Mae Clarke is a revelation as a prostitute in the original "Waterloo Bridge". The film was eclipsed by the 1940 remake starring Vivian Leigh and until recently this earlier version was unavailable. This pre-code version holds up beautifully and is better in many ways because of its frankness and because of Mae Clarke's ferocious performance. Kent Douglas plays the 19 year old soldier who falls in love with the prostitute, not realizing her true profession.The movie seems more realistic than the remake because, Douglas looks and acts like a callow 19 year old,and Clarke is very believable as the prostitute who tries to protect her soldier lover from the truth about herself. Neither Clarke nor Douglas became major stars and you can see that they lack the larger than life glamour of Vivian Leigh and Robert Taylor who starred in the remake.However, Clarke and Douglas add a touch of realism which was a hallmark of many of the pre-code movies and which wouldn't be found in American movies in abundance until the 1970's.

Having seen Mae Clarke being carried away by Frankenstein and getting a grapefruit in the face by James Cagney, I had a clear image of her but not of her talent.

I agree with the other reviewers that this is one knock-out performance. At a time when many actors in early talkies were still being very stagey (with stilted manners and playing to the back row), Mae Clarke built a performance that was modern and genuine.

The whole production is good (especially Arthur Edeson's cinematography and James Whale's direction), but Clarke's acting is what I'll always remember.

It's not often one sees a film of this era with as much straightforward, realistic acting and characterization. It's not perfect in that regard, of course, and there's still a bit of the silent era heavy makeup and staging, but the honest and unstylized delivery of actor after actor is astonishing.

Although Mae Clarke's performance as Myra is justifiably lauded, Kent Douglass's (his screen name here) clean, fluid, unexaggerated portray is a delight to watch (in spite of the aforementioned eye makeup). Both Frederick Kerr and Enid Bennett as Roy's step-father and mother are priceless. The scenes between Mary, Roy's mother, and Mae are especially satisfying for their unassuming honesty.

I never thought I would enjoy this production of "Waterloo Bridge" more than the 1940 remake with Robert Taylor and Vivien Leigh. For one thing, this version is a straight narrative which is more suspenseful than the flashback construction of the remake. Secondly, Kent Douglass has that boyish quality which makes his naiveté much more believable than Robert Taylor's. And finally, the pacing and casting of the supporting actors by James Whale couldn't be beat. Ethel Griffies, as the heartless landlady, Enid Bennett, as Douglass' sympathetic but forceful mother, and Doris Lloyd, Clarke's practical but unfeeling prostitute friend, were all standouts. I had never seen Mae Clarke in such a strong dramatic role, which she handles more beautifully than I ever thought she could, conveying her anguish at loving a man but being ashamed of having become a prostitute. And, of course, there is Bette Davis in a small inconsequential role very early in her career; she was still a pleasure to watch. By all means, see this film! You won't regret it.