LAURA 🤩

Reading a great murder mystery is one of the best ways to spend a lazy Sunday afternoon.  I can’t begin to tell you how often I have done this throughout my life. I used to be able to read an entire book in one day. I wouldn’t stop turning those pages. I enjoy getting lost within a good story, especially if it has intriguing characters and a murder or two. My mind won’t stop mulling over the facts until it all clicks together, and if the conclusion surprises me, that is even better. It’s fun being wrong…sometimes. 

My limited eyesight won’t allow me to do this anymore. Reading is obviously harder if the print is unclear or you constantly lose your place while following each line. It has often become more of a chore nowadays, but that said, I am still plugging along with enlarged, bold print while holding a magnifying glass. Alas, I am pretty stubborn, so I won’t stop until I absolutely can’t. Yes, I know, audiobooks are available, but it’s not the same as reading to yourself. I will transition over one day, but that day is not today.  

Another enjoyment of mine has always been watching a 40s black-and-white murder mystery film. The rhythm, the pacing, the clothes, the hats, the haunting, expectant music, and the locations tap into something deep within my soul. I love an exciting noir movie. This is a special category of film that translates into a black or moody thriller movie. The word Noir is French and means black. It is a genre that is not created much nowadays. These are shorter films that get into the plot quickly and end the instant after the murder is solved. It is not easy to produce a great Noir that could be remembered over eighty years later, with one excellent exception…Otto Preminger’s (STALAG 17, ANATOMY OF A MURDER) LAURA. This is a cinema triumph that almost every critic will say is the perfect example of the times and expounds exactly what the perfect Noir should personify. 

LAURA had a rough beginning. The original director was Rouben Mamoulian, with Preminger as producer. After a few weeks of filming, Mamoulian was fired for creative differences, and Preminger took over both roles as producer/director. He threw away all that had been filmed so far and fired the crew. He ordered new costumes and changed all the sets that had already been made. It was a nightmare. He also fired the actor playing Waldo and hired Clifton Webb instead. Preminger wanted Webb even though he hadn’t acted in a film in twenty years. Needless to say, the studio execs were appalled, but Preminger had major clout and got his way. The cinematographer who took over went on to win the only Oscar for Best Black-and-White Cinematography. LAURA was nominated for four other Oscars, including Best Director, Best Writing, Best Supporting Actor, and Best Art Direction. 

Preminger was a task master and was said to be extremely difficult to work under. He would often explode with anger until he got the take he wanted. He insisted on working long hours, which exhausted his cast. It was grueling fifteen-hour workdays for close to a year, but the genius accomplishment of LAURA speaks for itself.  

The stunning Gene Tierney  (THAT WONDERFUL URGE, HEAVEN CAN WAIT) portrayed LAURA. She usually played softer, gentler leading ladies. She was enthusiastic about showcasing the unspoken strength of women. Her natural beauty added to her powerhouse characterization. Even though she was a beloved actress, there was usually uneasiness and strain on the set. Preminger was relentless with everyone. In later interviews, Tierney said each day caused total fatigue. 

Dana Andrews (THE BEST YEARS OF OUR LIVES) was the perfect Detective. His part was the catalyst for many story surprises. He was a consummate actor who always looked hot in a fedora. Andrews and Tierney had on-screen chemistry that helped make the romance believable. Even though he was the guy who would always protect the woman (whether she needed it or not), he did it well with gusto and stylistic panache. 

Clifton Webb (CHEAPER BY THE DOZEN) had a lot to live up to since he was the new hire and hadn’t been in front of a camera in years. He also had to hide his male gender preferences from all of Hollywood. This just wasn’t acceptable back then. Preminger literally threw Webb into the water to get his feet wet once again by filming the tub scene on day one. Webb was quoted as saying he hated every moment of Preminger’s choices. 

Rounding out the exceptional cast were Vincent Price (EDWARD SCISSORHANDS, DRAGONWYCK) and Dame Judith Anderson (CAT ON A HOT TIN ROOF, THE BORROWERS). Price has always commented that his part in LAURA was his favorite. He said he owed a great deal of his successful career to Preminger. Anderson had an entirely different opinion. Preminger was a controversial director, to be sure. 

LAURA is one of the smoothest, slickest noirs of all time. It is a genuine, elegantly gripping classic film. It repeatedly asks the question… Who shot Laura Hunt? It reminded me of the pop culture phenomenon from the tv show DALLAS. (Who shot JR?) LAURA boasts a 100% rating on Rotten Tomatoes, which is very hard to come by. The characters are iconic, the story is rich with multiple layers, the acting is superb, and the camera angles are intriguing, with mesmerizing light and dark that connect all the necessary shades in between. LAURA represents one of the best examples of cinema. It is a movie to watch over and over, especially during a dark, cloudy, and lazy afternoon. 

LAURA is available on Prime Video.