Laura (1944)

 A fine thriller but not a great one
The picture nobody wanted, Laura was one of Fox's most notorious bad-luck pictures, and some of the bad luck stuck. After all the studio's A-list directors had turned it down (one of whom, John Brahm, ironically went on to remake it as Portrait For Murder in TV's 20th Century Fox Hour), Rouben Mamoulian began the picture until producer Preminger took over, reshooting much of his footage. Even David Raksin's famous theme only came about when Alfred Newman, Bernard Herrmann et al had turned down the picture. The result may well be an acknowledged classic, but while it's good, it's not THAT good.

Something is missing. That we are unaware of working-class detective Andrews' infatuation with the dead murder victim Laura until until the venal Waldo Lydecker tells him, despite Andrews fine performance, is indicative of the problems of the film. That we have to be told so much instead of sensing it for ourselves is one of the film's greatest weaknesses. Some of this can be attributed to Darryl F. Zanuck's penchant for over-editing - it takes a while for it to become clear that the victim's face has been shot off - some to rewrites, but regardless of their cause, all play against the film. Structurally, too, it is scarred. The decision to reduce the original three narrators to one either goes too far or mot far enough: as it stands, Waldo's opening narration is soon ignored and later lacks logic.

Despite her awe-inspiringly bad taste in hats (she favors the S'Wester look), Gene Tierney is all about the look, not the performance here. While the painting of Laura (in reality a touched up photograph) holds a magical allure, she cannot live up to the eulogies of the supporting cast in the flesh. The real stars of the show are Vincent Price's Southern gigolo and Clifton Webb, great fun in an overwritten part as the patron saint of purple prose Waldo Lydecker that makes the film feel like a Joe Mankiewicz drawing room thriller rather than a noir.

Yet for all its weaknesses, Laura is full of good things. There is some brilliant camerawork from Joseph LaShelle, who took over from Mamoulian's choice of Lucien Ballard after filming Webb's screen test (refusing to read for the role, Webb chose to do his Blithe Spirit monologue for the cameras instead!), while David Raksin's theme effectively haunts the detective in its various guises wherever he goes. When the two combine, as in a superb tracking shot that keeps Laura's portrait present in the frame with Andrews as he wanders through her apartment, they become the veritable blood in her veins, creating an impression that no actress could ever live up to. At times the picture even adds up to more than the sum of its parts and it's still a good wallow, but it's one best approached with few expectations if you want to get the most out of it.
May 12, 2008

 OTTO PREMINGER, OPUS 7
***** 1944. Based on Vera Caspary's Laura (Femmes Fatales: Women Write Pulp), LAURA was produced and directed by Otto Preminger. Academy award in the Best Cinematography category and four other nominations. While Det. Lt. Mark McPherson is investigating the murder of Laura Hunt, the young woman suddenly reappears in perfect health. LAURA is a motion picture I watch every five years or so. It's a gem of the film noir genre and it hasn't aged a bit. In my teenage years, I was mostly attracted by Gene Tierney's almost irreal presence on the screen, later it was Dana Andrews's taciturn and low-key performance that stroke me as essential and, yesterday, I finally understood that LAURA's main character was in fact Waldo Lydecker, played by the incredible Clifton Webb; this character literally forges Laura Hunt's personality and provokes, thanks to his suggestive descriptions of Laura Hunt, McPherson's love for the young woman. LAURA is a must if you like the film noir genre or, simply, Cinema. Indispensable. May 5, 2008

 Old movie
I love to see old movies and Laura is one of the best.The movie arrived as promised and in excellent condition. April 27, 2008

 A Bit Over The Top
Clifton Web as Waldo Lydecker lifts this film noir to classic hights. I doubt a more stylish film noir was ever made and it's not to be missed ( even if the plot is a little silly ). A must see movie for all film lovers. March 23, 2008

 elegant and engrossing
Laura Hunt (Gene Tierney) is a beautiful and intelligent woman with a successful career in advertising; by all accounts she's admired and well-liked and possesses many fine qualities. At the start of the film we learn that she's been murdered in her own home and that the detective on the case, Mark McPherson (Dana Andrews), has already found a few suspects to investigate. One suspect is writer and critic Waldo Lydecker (Clifton Webb), Laura's mentor and close friend who helped her launch her career and refine her style and taste. Another is Shelby Carpenter (Vincent Price), Laura's fiance; he's got some charm and an easygoing manner, but is also shiftless and morally weak. Then there's Laura's aunt, Mrs. Treadwell (Judith Anderson), who is in love with Shelby and not very discreet about her affection and their affair.

McPherson is a level-headed detective who finds an interesting way to keep calm as he deals with these people and the intricate stories they craft; he has a knack for asking the right questions and cutting through people's airs and posturing. As his investigation deepens though, he finds it increasingly difficult to remain cool and detached. He's been visiting Laura's home, looking through her clothes and belongings, reading her letters and private diary, and finding himself bewitched by her enchanting portrait. He's obsessed with her and likely falling in love with her too, even as he believes her to be a dead woman. Imagine his shock then when he sees her stepping into her home one night, nonchalant and clearly unharmed.

The film is a treat in many ways. The script is clean, sharp and delivered well by all the actors. The actors are extremely well-suited for their roles. Price conveys both the shambling charm and fundamental cowardice of the fiance. Webb is terrific as the poisonous critic and Laura's possessive older friend. Tierney is stunning as Laura, bringing beauty to the screen and giving her character a kindness, gentleness and elegant restraint. Andrews plays out his character's emotions in an understated way, with subtle gestures and slight shifts of facial expression. In one brilliant scene, where Laura herself has become a suspect to the murder and his character is interrogating her at the police station, he conveys really well the shifts between the impersonal questions about her alibi and the more urgent, personal questions about her relationship with another suspect, who has essentially become the detective's romantic rival. My one main quibble with the film was a desire to better understand Laura herself, and why she seeks out the company of the men in her life; the beginnings and ends of certain relationships seemed much more like plot contrivances than anything truly character-driven. Tierney and Andrews, while working well together, don't generate that crackle of tension and mutual attraction.

Still, Laura is wonderfully well-crafted and atmospheric. The film doesn't need to show us a dead body or blood stains in order to create a chilling mood. The way in which the murder victim dies is brutal - a shotgun blast to the face - but the deed itself remains offscreen. The film creates its moods and builds tension through atmosphere and music, intense and involving exchanges of dialogue, and well-placed details. March 16, 2008

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