SimonJack "Waterloo Road" is a wartime melodrama set in England. The film opens at the end of 1944 or early 1945 with scenes of the destruction from the Blitz of four years earlier. The meat of the story occurs in a flashback to the winter of 1940-41 when London and other cities were under the German Blitz. The movie was released in the U.K. on Feb. 5, 1945. Since the D-Day landings at Normandy on June 6, 1944, the Allies had pushed Germany out of most of occupied Europe and were at its gates. The Battle of the Bulge (Dec. 16, 1944 to January 25, 1945) was the last German offensive and desperate effort to turn the war. With the final Allied victory and the Russian victories on the Eastern Front, Germany's ultimate defeat was certain Yet, some people see "Waterloo Road" as propaganda. One must wonder what in this film would be considered propaganda. The outcome of the war was certain in time, and there's hardly any mention of the Axis enemies. So, what is the political cause or point of view that the film is promoting? What type of propaganda and for what purpose? What are the film's messages to the viewing public? Is it a warning to wives about being faithful to their husbands who are in the service? It's nearing the end of the war – a fine time to do that. The film clearly puts down draft dodgers, black marketers ("spivs" in the British slang of the time), and dandies out of uniform who chase the girls back home. But where is the film misleading or biased? Rather, I think it's a film, as the billing says, about marital fidelity, attempted adultery, profiteering by unscrupulous elements, and military desertion at the start of the war. If anything, the film at the end seems to be a morale builder. The last scene has Dr. Montgomery surveying the destruction of his neighborhood and talking about the young people and their children whose job it will be to rebuild their nation. The movie has some of the top British stars of the day in the male leads. John Mills is private Jim Colter; Stewart Granger is the draft-dodging spiv and dandy, Ted Purvis; and Alastair Sim is Dr. Montgomery. These actors and the lead females all play their roles very well. The only thing that seems a stretch to believe is the light treatment of Colter by the military when he goes AWOL (absent without leave). Desertion in time of war is particularly heinous and carries heavy penalties – even death. Clearly, Colter isn't deserting but is going AWOL so he can go home to try to keep his wife and stave off Purvis. The screenplay treats his pursuit, capture and return to his unit lightly. Again, the cast all do a good job. Some reviewers, who apparently know more about Mills as a mild-mannered person, can't imagine him coming out on top in a fight with Granger. But in this film, Colter is a soldier who probably had considerable training in self-defense and fighting. He wears a beret, so he may have been a member of the tough British 1st Airborne Division. Purvis had been a prizefighter and probably knew some street fisticuffs. But, he was out of condition, as he says himself. And, he had a bad heart – in reality (as Dr. Montgomery confirms at the end). That would have drained him of some strength in the first place. Then there's that element of adrenalin, fire, and extra strength that comes to a man who has something to fight for and protect. That is Colter and his wife and marriage. Whereas, Purvis had none of that. Overall, this is an interesting enough film, and worth viewing because it's an unusual wartime story. I noted its original release early in 1945 in England, while the war was still underway. One wonders if the subject wasn't a very touchy matter at the time in America as well. Why else would "Waterloo Road" not be released in the U.S. until late December 1948 – more than three years after the end of the war?Incidentally, author Ian Fleming appears in the film in an uncredited role. He is an officer in the railroad station, but darned if I could spot him.

Guy Plot: A British soldier goes AWOL in order to stop his wife cuckolding him with a criminal.This film is a Gainsborough melodrama, and if you know what that means then you know what you'll get. So expect female hysterics and an unconvincingly nasty criminal played by Stewart Granger. John Mills, as an everyman squaddie, holds the piece together with some solid work. The setting is Waterloo station and most of the film is shot on location, which gives it a nice edge of social realism as the story winds through the markets and streets. The plot isn't up to much but it does express one of the great worries of British soldiers: what were their girls up to whilst they were away? Many were on active service for years at a time, and they knew England was full of Yanks, Canadians, spivs and other sorts who were flush with cash, glamour and amorous intentions. It isn't a very good film, with the climactic fist fight being particularly unconvincing, but it's a nice insight into what was a pressing issue at the time.

Jem Odewahn This is basically a morality play about the struggle some English women had to have with temptation on the homefront in WW2. But it is well-directed by Sidney Gilliat, and well-acted. It tells a simple story in soldier John Mills playing "hooky" in order to see his wife, who is contemplating being unfaithful with a local louse, Stewart Granger (who is support to Mills, yet steals the show). Great English character actor Alistair Sim is also in the mix as a wise doctor. It's only short, but it tends to drag in a few places. Although Mills is constantly on the move (it's quite a physical performance from him), it's just a bit slow with the one-idea story. Granger is perfect as the lothario who wants to seduce Mills' wife, and Jean Kent gets an all-too-short appearance as a sexy, snappy hairdresser that has been jilted by him. Only a two minute bit, but she's so memorable you are left wanting more.

writers_reign It may well have passed muster at the tail end of the war but seen today the flaws are there for all to see. Stewart Granger's working class accent is a joke and his wooden, over-the-top acting little better. John Mills phones it in as the 'decent' man who goes AWOL when he hears that wife, Joy Shelton, is stepping out with Granger's spiv whilst he, Mills, is doing his bit. The two best performances by a mile are turned in by Beatrice Varley and Alison Leggatt as Mills' mother and sister and Jean Kent weighs in with a passable cameo but the climactic fist fight between Purvis (Granger) and Colter (Mills) is embarrassing. Definitely a Waterloo sunset.