Laura

'Laura' is one of the most entertaining mystery movies I've ever seen. A mystery? Also a romance, a Film Noir and even in some ways a comedy. It's quite a unique movie from the legendary Otto Preminger, who took over from the original director and started from scratch. Gene Tierney plays the title character, a woman who seems to bewitch every man she meets. It's no wonder because Tierney is mesmerizing to watch. I think she could well be the most beautiful actress of all time. Dana Andrews, Vincent Price and Clifton Webb play the three men in Laura's life. Andrews ('Night Of The Demon') plays a detective investigating Laura's apparent murder, Price, years before becoming a horror icon, a gigolo type who is due to marry her, and Webb (best known as Mr. Belvedere) is a snobby columnist and wit who is Laura's mentor. All four actors are just terrific and the plot is full of twists and surprises. I enjoyed this movie from start to finish. 'Laura' is one of the very best Hollywood movies of the 1940s. Highly recommended

The first time I saw this film, about eight years ago I ended up almost losing a friend because I was hoarding the VHS copy he had lent me for about two months. After seeing it, I quite simply didn't want to give up the tape because in doing so, I wouldn't be able to watch it anytime I wanted to; and I did watch it anytime I wanted to, and often, until he threatened to call a Noir Intervention. I may have loved this film from the first viewing, but I wasn't prepared to deal with something like that, as entertaining as it may have been.

I fell in love with `Laura' because it is biting and evil, intelligent and surprising. The unfathomably gorgeous Gene Tierney plays the title character, an advertising executive whose best friend Waldo Lydecker (played by the always wonderful Clifton Webb) and fiancée Shelby, (a really young Vincent Price) are some of the prime suspects in her murder. The gruff detective leading the case (Dana Andrews) is Det. McPherson, and he quickly essentially falls in love with a ghost while he is trying to solve her murder.

`Laura' has one of the great Noir scripts in that just as the audience thinks they have the case solved, another curve ball is thrown at them which blows that theory out of the water. The acting is pure delightful melodrama, but Clifton Webb's performance is simply show-stopping. His character is a vicious snit of a writer who uses his column as a weapon against anyone he doesn't like or even tolerate. Even upon multiple viewings I can't help but howl at some of his lines and mannerisms.

If anyone was to request suggestions for good Film Noir movies, I would prescribe a heavy dose of `Laura' because it has something for everyone in that it is romantic, thrilling, mysterious, wickedly funny and above all, thoroughly entertaining.

--Shelly

"Laura" is a classic murder mystery and more. The main characters make for a fascinating psychological study, and the movie is also filled with wit and style, in addition to a murder mystery that holds plenty of interest in its own right.

The story opens with a detective (Dana Andrews) questioning suspects in the murder of popular, beautiful, and successful Laura Hunt. As he does, we learn not only about the suspects but about Laura herself, through flashbacks. We see Laura (Gene Tierney) develop the career and relationships that eventually led to danger, and we also learn that Laura meant something very different to each of the suspects: the snobbish, venomous writer who launched her career (Clifton Webb), the worthless playboy whom Laura was going to marry (Vincent Price, in a role quite different for him) and her rather desperate aunt (Judith Anderson). Even the detective quickly becomes obsessed with Laura's memory. The psychological overtones of all this add considerably to the mystery plot.

The mystery story itself is quite good, with interesting details and at least one major surprise along the way. The climax is tense and exciting, a fitting conclusion to both the mystery plot and the complex relationships among the characters. The acting and direction are all very good, and make the most of the story's possibilities.

"Laura" is a must-see not only for those who like mysteries, but for anyone who likes classic cinema made with style.

Laura is a wonderful example of film noir. The cast is perfect. Dana Andrews is the detective assigned to investigate the murder of Laura (played by Gene Tierney). As he interviews her associates and becomes mesmerized by her portrait, he begins to fall for Laura posthumously. Clifton Webb plays her mentor perfectly and Vincent Price is classic as Laura's pretty boy fiance. Although the movie begins with Laura's murder, it still has incredible surprises and an awesome denouement. Andrews hard boiled detective and the dark, raining sets illustrate the meaning of film noir. I highly recommend it.

A superbly stylish movie. None of its characters is without flaws - even the elusive Laura is too naive for her own good. They are presented lovingly by Preminger, and his award-winning DOP Joseph LaShelle.

The excellent script ranges from caustic Laedecker/Webb put-downs, through brutal Treadwell/Anderson self-assessment, to laconic MacPherson/Andrews minimalism.

The score is, of course, a classic. Raksin's sinuous melody, brilliantly deployed, haunts the picture as powerfully as Laura's portrait haunts Detective MacPherson.

The central performances are wonderful, not least because of the perfect casting. Tierney shines as the enigmatic title character: beautiful, intelligent, somehow both cool and passionate at the same time. Webb dazzles, Price slithers, Anderson simmers. Best of all is Andrews as the detective who barely opens his mouth when he speaks, and on whose face desire barely flickers - but he does enough to show you exactly what he wants and how he feels. It's a great movie performance from an underrated actor. Only Dorothy Adams doesn't quite fit, in a role - Laura's maid - that could easily have been as showy as the others with the right performer.

LAURA doesn't appear to be about anything significant, but it leaves behind it a feeling that it is greater than the sum of its parts. I don't know how this was managed, and perhaps no-one involved in it did either. It's one of those movies where everything just clicked. Seeing it again recently, after many years, confirms its status for me as a significant work, but exactly why or how remains as much of a puzzle as Laura herself.