The third, and weakest, film adaptation of 'Waterloo Bridge'

Metro-Goldwyn-Mayer Studios - 10202 W. Washington Blvd., Culver City, California, USA

June Allyson, Gloria DeHaven, Jimmy Durante, Van Johnson, Gracie Allen, Ben Blue, Xavier Cugat, Lena Horne, Amparo Iturbi, José Iturbi, Harry James, and Lee Wilde in Two Girls and a Sailor (1944)

Don Ameche and Claudette Colbert in Midnight (1939)

Paul Newman and Jean Simmons in Until They Sail (1957)

Ingrid Bergman, Gary Cooper, Jerry Austin, and Flora Robson in Saratoga Trunk (1945)

Lauren Bacall, Gary Cooper, and Patricia Neal in Bright Leaf (1950)

Joseph Cotten, Barbara Stanwyck, Leslie Caron, and Louis Calhern in The Man with a Cloak (1951)

Gary Cooper and Patricia Neal in The Fountainhead (1949)

Kirk Douglas, James Mason, Pier Angeli, Ethel Barrymore, Leslie Caron, and Farley Granger in The Story of Three Loves (1953)

Leslie Caron and John Kerr in Gaby (1956)

You hide the truth from the people you love?

Yes. And I think that's why they love me. Oh, Gaby, anybody can tell the truth. It's a lot harder to be kind and tactful and considerate.

Leslie Caron and John Kerr at an event for Gaby (1956)

Leslie Caron, Cedric Hardwicke, and John Kerr in Gaby (1956)

Leslie Caron, John Kerr, and Ian Wolfe in Gaby (1956)

Leslie Caron, Taina Elg, and John Kerr in Gaby (1956)

Leslie Caron

John Kerr

Cedric Hardwicke

Robert E. Sherwood

S.N. Behrman

Hans Rameau

A French ballerina (Leslie Caron) in 1944 London falls for an American soldier (John Kerr) who is sent to France in the Normandy Invasion.

Curtis Bernhardt

Gaby

underrated film

After revisiting &apos; The L-Shaped Room &apos;, which is among the few films I watch often, I paid another visit to my worn out copy of &apos; Gaby &apos; which I equally love. I have never compared it to the previous films of &apos; Waterloo Bridge &apos; 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&apos;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.

Gaby is a ballet dancer in 1944 London who happens to bump into a corporal Greg while rushing to catch the bus. Greg is mesmerized by Gaby and goes to the ballet to see her on stage, but Gaby is French and wants nothing to do with Greg. But he persists and by the end of the day, she agrees to marry. But before they can marry, there is a mountain of red tape and Greg ships out while promising to marry Gaby on his return. When she hears that he has been killed, she makes herself available to anyone who would want her.

Official Trailer

https://m.media-amazon.com/images/M/MV5BYWI5N2ZlM2UtNmFlZS00ZjU2LThkOTMtNjkyMzA1YmUxYTYzXkEyXkFqcGdeQXRyYW5zY29kZS13b3JrZmxvdw@@._V1_.jpg

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.

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Gaby

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