"Waterloo Bridge (1940)" Movie Review Essay & Film Analysis

In the spotlight, ready to explode lined shower sky of London, the world barely recognized through a large network of bombers. Just below, the houses and the pavement closer fragile figurines of ladies in hats modest style and strong figures valiant officers in caps are found on bridges, then scared siren scream, rushing to the shelter, and tomorrow, together again - in a theater, a restaurant and, of course,, in church. One of the girls name is Moira, one of the officers - Roy, and their love story, fueled by the catalyst of the war, like thousands of other strings of letters tightening front and rear Love will be tested, but it will be there until the end of
'Waterloo Bridge' Mervyn LeRoy? in a turbulent 1940 off the line almost together with liners and shells in support of Britain at war, even though chronologically the film refers to the period of the First World War. Neat black and white visuals in its best traditions echoes the conceptual features of the story of the sad vicissitudes of relationships in the streets of the patient's fever military town. Filmed play Robert Shorvuda - is like a film without a developer, and under the edge of the sword of Damocles of an enemy invasion is difficult to judge the same black-and-white categories, that is correct, and that - no. Romantic wedding frenzy whipped up can no longer be condemned, as well as the desire to survive at any cost. White Swan Moira, clean body and soul dancer, under the barely recognizable emmanuelevskoe rattling piano siganet from the scene to a nearby tavern, and intrusive recollection of a single and a better life in the dance with a man in the glow of the dying candles turn into a dipped beam and the roar of rushing vehicles. Joyful familiarity merges with an unexpected farewell, personal happiness will die from corrosive ink stains of poverty and hopelessness, which are abundant in every newspaper article about the missing.
Although director sympathetic to the difficult Moira share and together with the writer gives her consolation certificate for 'happily ever after', she can not forgive myself for what others graciously write off on hostage-taking situation. Shame not wash together with make-up as well as get rid of the habit of vulgar wrap up in a cheap fur and conscription smile. It is noteworthy that a dramatic shift towards the female character, despite the fact that the main character in the person of Robert Taylor also swallowed the horror, but because of his incorrigible optimism and carefree smile does not allow the past to prevail over him when Moira, pessimistic pragmatist denies any opportunity redemption and stubbornly otzerkalivaet cheerfulness and her partner with her - all the strength and courage to face the future without regard to the stigma of street trade. This is one of the best and most favorite roles brilliant Vivien Leigh: already otbivshaya Tara in the Civil War, but has not run over by the wheels of a steam locomotive Russian actress from film to film faced endless balancing his heroines between survival and honor, duty and love. In spite of the sad fate of the current - failed love, a ruthless disease is emotionally flexible person with old-fashioned shaped mouth in the form of a curved bow, these radiant eyes repeatedly portrayed as an old world feeling a new and ingenious at the same time is easily readable. In the role of Moira Vivienne is unhappy beautiful, piercingly especially because of unfair stung rock. From flirty and trusting the child it becomes a living embodiment of the pain, but the pain is silent, hidden, making only her eyes shine differently sharply, and this, prosperous side of the screen light of the shortest path reaches the viewer's heart.
And the final history smiled bitterly, but in the consciousness still plays the main musical motif treasured waltz by candlelight - the melody of Auld Lang Syne, remembers the good old days. Sentimental bar on the page of history, the film is not that captivates expected theatricality, but rather submits and bows before an uncompromising realism. It is bright and powerful, like a siren, a shout, the call as being in the millstones of World War II, as well as to a clear sky dwelling quiet today: most time, live the present. The song is not always right, because tomorrow may be another day.

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