Laura (1944) has always been held up as a classic and a key title when it comes to the genre of film noir. What I was surprised by was, in comparison to say Raymond Chandler adaptations, there is something sophisticated about this film, a drawing room mystery rather than a plunge into the dark, gritty streets. The tone is set by newspaper columnist Waldo Lydecker (Clifton Webb), an older gentleman with rapier wit and refined tastes who initially narrates the film’s opening and is interrogated while tapping away on a typewriter in his bath. He is investigated by Detective Mark McPherson (Dana Andrews), the “uncouth” element in this world of high flyers and wealthy types, concerning the murder of successful advertising executive Laura (Gene Tierney). As the Detective listens to the story of Laura’s rising career and her connection to Lydecker as a mentor, he begins to become more personally involved, particularly with every gaze he throws at a portrait of Laura in her own apartment. The twists and turns I won’t spoil, but this also includes Vincent Price as a leeching playboy engaged to Laura and Laura’s socialite aunt Ann (Judith Anderson). Adapted from Vera Caspray’s novel and directed by Otto Preminger, this is a classy, almost elegant affair, which also contains the DNA for many a mystery and noir afterwards of obsession and psychosexuality albeit hinted at discreetly here. Webb is good as the fastidious, snobby Lydecker and Dana Andrews moves from initially low-key energy into a cagey, involved sleuth. And of course, Gene Tierney is very good and iconic as the glamourous object of fascination. It also clocks in at a tidy 88 minutes and did not disappoint with its reputation as a classic. Recommended.
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