Film Review: Laura (1944)

Music is one of the important components of a film, but in few occasions it appears to be the most important, or at least most effective. Some soundtracks can elevate films to the unseen heights and some can become instantly recognisable pieces of cultural legacy. One such soundtrack was written by David Raksin for Laura, 1944 crime film produced and directed by Otto Preminger.

The film is based on the eponymous 1943 novel by Vera Caspary. The plot is set in New York City and deals with Laura Hunt (played by Gene Tierney), beautiful advertising executive, apparently murdered with shotgun blast that obliterated her face. The crime is being investigated by Lt. Mark MacPherson (played by Dana Andrews), NYPD detective who begins by interviewing people who were closes to the victim. One of those persons is Waldo Lydecker (played by Clifton Webb), an influential columnist and syndicated radio host who credits himself for helping Laura’s career and was apparently deeply infatuated with her despite age disparity. Much closer to Laura’s age was Shelby Carpenter (played by Vincent Price), her fiance, suave man with the lack of morals, financially supported by his wealthy middle-aged aunt Ann Treadwell (played by Judith Anderson). MacPherson discovers that Laura, shortly before the murder, had second thoughts about apparent marriage. While he tries to reveal possible motives and find the killer, he also realises that he became infatuated with the image of the murdered woman.

Laura is often considered to be film noir. If it is, it is very atypical for the genre, because it is set in high society milieu and its plot and characters resemble more “whodunnit” mysteries like those from works of Agatha Christie rather than “hard boiled” detective fiction characteristic for the genre. The only trace of the latter can be found in the character of Lt. MacPherson who is clearly depicted as someone who belongs to lower strata of the society and whose apparent lack of sophistication and “good manners” is often mocked by members of New York’s elite he has to interrogate. Laura works much better as psychological thriller and more generic form of murder mystery, which is resolved perhaps in not too spectacular manner and with the help of truly unexpected plot twist that occurs somewhere at the half of the film. Otto Preminger directs the film superbly, keeping the running time under hour and half and taking great care of production design, also helped by Oscar-awarded black and white cinematography by Joseph LaShelle.

Gene Tierney, one of the most beautiful actresses of her generation and one of the few with upper class background, delivers very good performance in probably the most iconic role of her career. This was achieved despite her character not appearing that much in the film and despite Tierney suffering serious personal problems during production. Dana Andrews is also very good as no-nonsense blue collar detective who, despite his macho exterior, actually uses intellect to solve the murder. Andrews would later build career on the basis of his performance, often playing “tough guys” in film noirs and similar kind of film. Laura also provides opportunity to see young Vincent Price who plays character who is, despite lack of morality, actually quite effete and weak. All those performances are overshadowed by Clifton Webb, a middle-aged actor who returned to screen from stage after quarter of century of pause. He plays character obviously modelled on Alexander Woolcott, influential drama critic and commentator and member of famed Algonquin Round Table (which is given homage by scene that actually takes place in Algonquin Hotel). Webb, whose homosexuality was open secret in Hollywood, portrays character who is witty, well-spoken, but mean-spirited and whose infatuation with his beautiful protege can be ambiguous and interpreted in various ways. The best known element of Laura is, however, Raskin’s rich, magnificent jazz-based score that is instantly recognisable for most fans of film music and which sounds timeless. It also entered history books as one of the first soundtracks to be recorded on audio album.

Laura became big hit and its success is even more impressive considering difficulties during production. Most of those had to do with creative conflicts between Preminger and 20th Century Fox executive Daryl F. Zanuck. Laura represents one of the rare instances when such battles ended with victory of a film maker. Preminger managed to overrule most of Zanuck’s decisions and even replaced Rouben Mamoulian, who had been originally hired as director. Despite production having to start from scratch, Laura was shot quickly and under the budget. This success allowed Preminger to build career during which he would create not only many notable films, but maintain his independence and win many important battles in struggle against censorship. But even without this historic context, Laura is one of the finest works of Classic Hollywood that could be recommended to today’s viewers.

RATING: 8/10 (+++)

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