Waterloo Bridge

Leigh, in her first film since Gone With the Wind, is fresh, needy, poignant, while Taylor's unexpectedly assured restraint allows her to carry the film's surge of emotion.

Miss Leigh shapes the role of the girl with such superb comprehension, progresses from the innocent, fragile dancer to an empty, bedizened street-walker with such surety of characterization and creates a person of such appealing naturalness that the picture gains considerable substance as a result.

This one features the heartbreaking young Vivien Leigh with her flower-like face, flashing eyes and seductive fragility; Robert Taylor is a little stiff as the hero. (isn't he always?), but it's a nice lush MGM production. [31 Oct 1999, p.34]

Leigh is stunning in this second cinematic version of author Sherwood's hit play.

Vintage tear-jerker set in MGM's never-never England where an ageing Guards officer (Robert Taylor) indulges in a lengthy flashback from the Second World War to his ill-fated affair with a ballet dancer (the entrancing Vivien Leigh) who took to the streets when he was reported missing in the First World War. [21 Aug 2005, p.91]

Elaborating on the basic premise of Robert Sherwood's play, and doing a slick job of cleansing to conform to present regulations of the Hays code, this is a persuasive and compelling romantic tragedy.

Glossy MGM weepie, a tale of loving sacrifice in the first world war to warm the cockles in the dark days of the second. [16 Dec 2006, p.53]