Laura

Wowza!

Laura (1944)

     For me, Laura is the quintessential film noir. In reality, however, it is quite different from the standard flick of that genre. Whereas most noirs dealt with seedy underworld types and a blonde vixen,Laura’s setting is high society and focuses on a pretty brunette out to destroy no one.

     The title character, played by Gene Tierney, is absent for the majority of the flick, shown primarily in flashbacks as the movie paints a picture of her rise to professional wealth and of those around her who are now suspects in her murder. Dana Andrews plays Detective McPherson who seeks to unravel who unloaded a barrel of buckshot in the woman’s face in her own doorway one night.

     He starts his sleuthing with snide newspaper columnist Waldo Lydecker (Clifton Webb), who accepts McPherson’s visit while he is at his typewriter … in the bath. Waldo is an absolutely unkind man who defends against an accusation of callousness with the response: “I would be sincerely sorry to see my neighbor’s children devoured by wolves.” He, who was responsible for launching Laura’s career and courted her platonically, glimpses no sign of guilt. Fascinated with the psyche of a murderer, however, he insists on joining the cool McPherson in his interviews.

     Next up are Laura’s aunt Ann Treadwell (Judith Anderson) and Laura’s fiance Shelby, played by a young and handsome Vincent Price. Shelby has been distraught, unable to sleep (is that a sign of grief or guilt, Waldo inquires), but his alibi of attending the symphony is shoddy as he inaccurately reports the program, defending himself by saying he fell asleep. Ann, meanwhile, is looking shady because she has been withdrawing large sums of money that appear to be resurfacing in Shelby’s coffers, and we learn the two were having an affair.

     It is impossible to go further into the plot without giving away a fantastic twist that transpires about two-thirds in. The change throws all theories out the window as McPherson considers a different suspect and a different body. Director Otto Preminger gives us a masterpiece in Laura. It seems impossible to determine a true motive for the murder and we and McPherson have a difficult time knowing who to trust.

      The dialogue is intelligent, witty and sharp, especially that coming from the literary Waldo. Webb fantastically plays the acerbic writer whose insults flow so gracefully off his tongue. The story, however, is not just a mystery; it also has shades of romance. As McPherson learns all about Laura and we view her through flash backs, the man gradually falls in love with her ghost and her portrait that hangs above the woman’s mantle. Andrews gives a wonderfully controlled performance. He never raises his voice and his demeanor of near disinterest has the suspects overly willing to offer up information or point out where they have been dishonest and why. He lets Waldo rile up accusations and spark arguments while he bows his head to play with a handheld puzzle game.

     Tierney, meanwhile, paints Laura as a woman we cannot help but admire and ourselves fall in love with –reserved, gentle, elegant, forthright– while Andrews portrays his detective as a perfect mate. Anderson gives her typically perfect performance, and Price is fascinating to see in his charming youth before becoming a master of horror flicks.

     Laura won an Oscar for Best Cinematography, and the black and white picture really is a work of art, full of creative shadowing that instills the sexy, mysterious mood. This movie is yet another example of how Otto Preminger never disappoints.Laura is not as long as his other lengthy but worthwhile mysteries, but it packs the same wallop. I cannot recommend it enough.

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