La donna che non si deve amare

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.

This sensational 1931 pre-code classic is the first of three films based on the play by Pulitzer Prize-winning playwright Robert E. Sherwood, who felt the film had improved on his play. Carl Laemmle, Jr. (charge of production since 1929), son of Carl Laemmle (founder of Universal Pictures), bought the rights to Waterloo Bridge in early 1931 and initially felt none of the director's under contract with Universal could pull off a film adaptation of the play. However, he had seen the little-known film based on a play (by playwright R.C. Sheriff) entitled, Journey's End (1930), which featured a volatile setting and theme of World War I. It was the first film directed by the then relatively unknown James Whale, who had directed the play in New York and London as well. He was hired by Laemmle to direct Waterloo Bridge, however, Whale found himself uncertain about the original screenplay, which he demanded for a new screenwriter. Benn W. Levy and Tom Reed wrote a new screenplay, bringing the story back to a drama film (instead of a war movie). With Universal having serious difficulties financially, Laemmle reportedly gave Whale an insignificant budget of $250,000 and only 26-day's to shoot the film.

Rose Hobart (a Universal contract player) had been originally given the part of Myra Deauville (a chorus girl), but when she discovered that the studio was not renewing her contract, she regrettably refused to do the film. Whale chose then Columbia contract player Mae Clarke to replace Hobart. (Laemmle agreed to cast Clarke from her recent popularity in The Public Enemy.) Her co-star would be Douglass Montgomery (appearing as Kent Douglass) as the roll of Roy Cronin (an American soldier under Royal Canadian Forces). Even though they were filming on a tight schedule, with Montgomery being heavily inexperienced, Whale would take three days out of production just to work with him. The film also features a 23-year old Bette Davis in a small roll as Cronin's sister Janet. It would be Davis' third and final film with Universal before signing a seven-year deal with Warner Bros.

Waterloo Bridge opens with a fantastic shot of a stage show and the individual shots of the chorines are brilliant, with each looking smutty and profane. Afterwards, Myra backstage (singers and dancers making lots of noise in their underwear) saids goodbye to her gig as a chorus girl. (Myra becomes stranded in England after her show closes at the beginning of World War I.) A couple of years past, Myra is on the streets selling her body to the soldiers who spill out from the Waterloo Station. During an air raid in London, Roy meets Myra, and falls in love with her, unaware she is a prostitute. Montgomery's Roy is a handsome blonde but in many ways is clueless. He's certainly a likable heartfelt young man who is much too dull to identify a prostitute when he sees one. Clarke plays Myra as a intelligent woman, but frightened, secretly unhappy, and susceptible to outbursts. Really, Clarke amazingly complies Myra's conflicted emotions and impulses in a courageous portrayal of a woman horribly suffering. She believes herself to be nothing but trash and she's wrong - just as Roy's mother Mrs. Mary Cronin Wetherby (Enid Bennett) believes herself to be a fine woman.

Whale's direction was truly incredible, as he added a delicate mixture of realism and impressionism, but what makes Waterloo Bridge is Clarke's astonishing performance and the very real chemistry between her and co-star Montgomery (Whale stages the dialogue with great sophistication and slyness). Clarke will always be remembered as the wife (Elizabeth) of Dr. Henry Frankenstein in the 1931 Frankenstein (also directed by Whale) and for the girl that received half a grapefruit in the face by James Cagney in The Public Enemy (1931). However, in Waterloo Bridge, she proves to be more than just that, as she gives a striking performance that even two-time Academy Award winner Vivien Leigh herself couldn't come close to matching in the restrained 1940 remake. Of course, she was never a staple name like Leigh, however, she is simply a pleasure to watch as the main character - without question the finest performance of her unfortunate career. James Whale's 1931 Waterloo Bridge is vastly superior to the 1940 remake, as well as, the 1956 remake Gaby.

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.

Really excellent pre-code film, set in wartime London where an ex-chorus girl/current street walker (played by Mae Clarke) heads over to Waterloo Bridge to try and find herself a soldier on leave, and she meets wealthy, baby-faced, nineteen-year-old raw/green Roy and invites him up to her flat. He immediately falls in love and thinks she's a "good girl", unaware of her real walk of life. She falls for him too, but keeps putting him off, racked with guilt over her secret "career". Meanwhile he keeps pressing on, sneaking in her window, tricking her into meeting his family for a weekend of tennis, tea, and cocktails, asking her to marry him, etc. - he's completely smitten!

Top-notch acting and a good deal of chemistry between the two leads helps make this a really interesting, absorbing film. Their conversations together come across as quite realistic, and the performance given here by Mae Clarke is amazing - extremely well-done and memorable. I also enjoyed seeing a very young Bette Davis who appears here in a very small role as Roy's sister. Only one thing that bothered me about this film is, why oh why, as I have often seen done in period films made during this time, do they have the actresses appearing in modern, early 30s dresses, rather than period costume? Oh well, still a really first-rate film, well worth seeing.

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.