The only thing that stands in her way is the fact that she is hiding from him that she worked as a prostitute during the time he was away and her own guilt over it. She is afraid to tell him and ultimately she is the one who decides that she is not worthy of him and his great family name; and because she can no longer imagine living without him, she walks in front of an army truck on Waterloo Bridge and kills herself.
Roy does find out, however, about her past. After she had left him he goes to Kitty and hears the whole story and what is so tragic is that it would not have mattered to him if she had been a prostitute or not. He loves her and he knows that she always loved him and all he wants is to be with her. It is so sad because she did not realize just how much he loved her and she never even gave him the chance to tell her.
She makes her decision far to quickly and takes the irrevocable way out of the situation. Even if she had simply chosen to leave Roy — without killing herself — the simple act of choosing to live would probably have meant happiness for them both since Roy would have found her and they could have been happy. Going along with the sense of defeatism is also the sense that Myra had that all her happiness was unreal. She asks several times in the movie if it is real, as if she can hardly believe that so much love could really come to her.
The irony is that every time she says it, it is because of something Roy has done to make her happy. He works to make happiness. He is the one who puts off his duty so he can see her again and he is the one to propose so quickly. When he was presumed dead, he was really in a German prison camp and he escapes, returns to England, and brings her to his family home.
She has trouble accepting what would essentially be a fairy tale ending for her; and one wonders if she never, in her heart, subconsciously believed in happy endings. He says it the same night that she kills herself. It put me in a regular, reflective funk about life, loss and suffering.
And how the greatest tragedies in life — like WWI — are often self-inflicted. However, there is a slight, hopeful note at the end of the movie, despite the tragedy. It is clear that, despite the tragedy, what he is really remembering is her and how much he loves her and how much he knows she loved him.
Their love has endured, despite her death. It is another cosmic romance. Posted by christinawehner on September 22, in Drama , Romance. This is such a heartbreaker.
Vivien says so much with her eyes alone in this. A deeply moving romantic drama. Each time I watch, I find myself hoping that things will turn out differently for them.
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Email required Address never made public. Name required. Follow Following. Sign me up. Already have a WordPress. But the fog worked to our advantage, too. There was one scene of Vivien walking on a bridge. All we did was build part of the sidewalk and string some lights across it, then fill the set with fog, and we had our bridge. He was leaving the next day for the front.
It was a scene that Bierman, Franklin, and I had spent a lot of time on, and the dialogue between the two was, we had all thought, beautiful and tender. At four in the afternoon, after some hours of fruitless fiddling with the scene, I told everyone to go home. I sat there,in that make-believe nightclub, with just one small work light to give me illumination.
Over and over, I read the scene, read the words that Sam,Sydney,and I had labored to get right. I was still there at two in the morning, when suddenly the answer came to me. I realized at that moment what silent directors had always known, and what I should have known too. Often, in great emotional moments, there are no words. A look, a gesture, a touch can convey much more meaning than spoken sentences. Since sound came in, we had become dependent on it, perhaps over dependent on it. It was time to go back to basic human behavior, and often human beings say nothing.
This scene was one of those times when silence was more expressive than dialogue. Back to the orchestra and more candles being put out. Before all the candles were extinguished, the message was clear—they had fallen deeply,completely, in love. Not a word had been uttered. Waterloo Bridge, old as it is today, still plays often on television and still brings tears to the eyes.
Bob Taylor, in his later years, when he knew he was dying, grew sentimental. Most actors keep and cherish prints of their pictures, but Taylor had never had any. He told friends then that he would like a print of one picture he had made— Waterloo Bridge. The people at the Walt Disney Studio, where he was working at the time, got one for him, and he showed it often in his last few months.
This film, in my opinion, is the one where Vivien looks most beautiful. This is due in great part to the photography of Hungarian, Laszlo Willinger.
Willinger had immigrated to Hollywood after being discovered by Eugene Richee in , and replaced Ted Allan as official production still photographer at MGM.
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