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Very very predictable, including the post credit scene !!!

That was an excellent one.

I'll tell you why so serious

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

So much has already been very eloquently said here. Yet this movie certainly could not have been decrypted in 1940, but I think there is no point in not doing it now. Vivien Leigh has not made one movie that did not have any aspect of herself in it, and I never felt as strongly for her as I do watching this movie. Wonderful in its comedic and light moments, but there is no other that offers us so many looks into her sadness, the doubts, the giddy girl, into the romantic young woman that is in her somewhere but not allowed to be, the despair, the girl that looks out of the window into the gray of the day, some glimpses of hope, the elegant young lady, the shame, accepting everything to stay afloat, hating herself, misrepresenting things, the defeatism, and again the fog that is her doom. As glossy as this movie is and of course had to be, I don't know what any professional critic who proclaims this a chick flick is thinking. "Do you think you'll remember me now?" Who wouldn't.

Both the 1931 and 1940 films of 'Waterloo Bridge' are very good and well worth watching in their own way. Some elements are done better in one than the other if one must compare, but despite being in the shadow of the 1940 film the 1931 version is much underrated.The 1931 version is darker, grittier, steamier and more ahead of its time (plus more faithful to the original story), but this reviewer leans a little more towards the more lavish and even more poignant 1940 film, despite it being tamer and more romanticised. There is one element that is preferred personally in the earlier version than here and that's the male lead.Robert Taylor is certainly dashing, shares a very tender chemistry with Vivien Leigh and has very rarely been more handsome, but he is also a little stiff and dull in places for my liking (Leigh apparently wanted Laurence Olivier for the role and he would have been a better choice) and Kent Douglass was more effective bringing out the character's naivety.On the other hand, it is very lavishly produced with sumptuous costumes and sets with immaculately directed. Mervyn Leroy directs with elegant simplicity, atmosphere and momentum always consistent, while Herbert Stothart's music score is even more memorable, more lush and more haunting, in perfect keeping with the more "melodramatic" feel.'Waterloo Bridge's' (1940) script is intelligent and surprisingly multi-faceted, and the execution of the story is what gives this version the slight edge over the earlier film. Despite being tamer, lacking the darkness and grit of the 1931 film due to code constraints, the story did move me a little more and the ending is less erratic, less random and less abrupt - it's incredibly moving too- if ever so slightly contrived still.The characters are very well written, and the chemistry between the two leads is remarkably tender. There is a sterling supporting cast, with a scene stealing and charmingly loyal Virginia Field, a sly C. Aubrey Smith and a sympathetic Lucile Watson. Vivien Leigh's heart-breaking performance- to me she and Mae Clarke are about equal- is the one that dominates and it one for the ages and every bit as good as her performances that garnered her Oscars.In summary, such a beautifully done and tear-jerking. If you're asking which of the 1931 and 1940 films to watch, check out both of them, they are well worth it. 9/10 Bethany Cox

Robert Taylor (Roy) asks his taxi driver to stop at Waterloo Bridge on his way to enlist for WW2. There, he pulls out a lucky charm and reminisces about his whirlwind romance with Vivien Leigh (Myra) during WW1. The bridge is significant as it is the location that they met during an air raid. It is also the location where tragedy struck… This is a romantic war story that does leave you with some memorable moments, eg, the singing of "Auld Lang Syne" as couples dance the Farewell Waltz. The orchestra plays and gradually extinguishes more and more candles until we are left with dark silhouettes dancing. There is no dialogue and the whole sequence is hauntingly romantic. The film is well directed, eg, the scene where Leigh waits for her encounter with Taylor's mother Lucile Watson ((Lady Margaret). She has a newspaper with an update of the names of those soldiers who have fallen. Dare she look? Vivien Leigh evolves from ballerina good girl to prostitute and it's unfortunate that shame plays such an important part in this film. I used to know someone who worked as a high-class escort girl, ie, prostitute, and she raked in the cash for doing very little. One of her customers liked to get all his Nazi memorabilia out including books and toy tanks and ask her to watch him while he masturbated over it. That was it - £500, thank you very much. Leigh could have made a financial killing in the wartime with customers like that.The supporting cast are all excellent with standout performances from ballet company director Maria Ouspenskaya (Madame Olga) and Vivien's friend Virginia Field (Kitty). I'm not sure that the story is entirely realistic as Robert Taylor wouldn't be smiling over his reminiscences. It feels like it's all water under the bridge to him. The film has a rather 'Anna Karenina' ending to proceedings.

I have the 'Caeser & Cleopatra' film, as well as 'Gone With The Wind,' 'That Hamilton Woman', 'Anna Karennina, 'A Yank At Oxford,' and 'A Streetcar Named Desire' however, 'Waterloo Bridge' is my favorite. Lady Olivier was gorgeous and her ability to take on such a role on a subject that may not have been palatable to others at the time. It took me a long time to find this film, and when I did I was not disappointed. Of all the films listed above I found her quiet beauty and her hope for herself in this particular film captivating. In my humble opinion, Vivien Leigh surpasses even Katherine Hepburn. If you can find 'Waterloo Bridge' you too will love this film.