list http://www.spout.com/ Recent community activity around Laura on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Laura/19815/default.aspx Title: Laura
Year: 1944
Director: Otto Preminger
Plot: This adaptation of Vera Caspary's suspense novel was begun by director Rouben Mamoulien and cinematographer Lucien Ballard, but thanks to a complex series of backstage intrigues and hostilities, the film was ultimately credited to director Otto Preminger and cameraman Joseph LaShelle (who won an Oscar for his efforts). At the outset of the film, it is established that the title character, Laura Hunt (Gene Tierney), has been murdered. Tough New York detective Mark McPherson (Dana Andrews) investigates the killing, methodically questioning the chief suspects: Waspish columnist Waldo Lydecker (Clifton Webb), wastrel socialite Shelby Carpenter (Vincent Price), and Carpenter's wealthy "patroness" Ann Treadwell (Judith Anderson). The deeper he gets into the case, the more fascinated he becomes by the enigmatic Laura, literally falling in love with the girl's painted portrait. As he sits in Laura's apartment, ruminating over the case and his own obsessions, the door opens, the lights switch on, and in walks Laura Hunt, very much alive! To tell any more would rob the reader of the sheer enjoyment of watching this stylish film noir unfold on screen. Everything clicks in Laura, from the superbly bitchy peformance of Clifton Webb (a veteran Broadway star who became an overnight movie favorite with this film) to the haunting musical score by David Raskin. Long available only in the 85-minute TV version Laura has since been restored to its original 88-minute running time. ~ Hal Erickson, All Movie Guide
Times Tagged: 14
Number of Lists: 22
Number of blog posts: 3
Number of discussion threads: 1
SpoutRating: 3
]]>Wed, 01 Jul 2009 19:55:09 GMTLaura1944Otto PremingerThis adaptation of <a href="/players/P____84406/default.aspx" style='text-decoration:underline'>Vera Caspary</a>'s suspense novel was begun by director Rouben Mamoulien and cinematographer <a href="/players/P____80543/default.aspx" style='text-decoration:underline'>Lucien Ballard</a>, but thanks to a complex series of backstage intrigues and hostilities, the film was ultimately credited to director <a href="/players/P___107025/default.aspx" style='text-decoration:underline'>Otto Preminger</a> and cameraman Joseph LaShelle (who won an Oscar for his efforts). At the outset of the film, it is established that the title character, Laura Hunt (<a href="/players/P____70970/default.aspx" style='text-decoration:underline'>Gene Tierney</a>), has been murdered. Tough New York detective Mark McPherson (<a href="/players/P_____1708/default.aspx" style='text-decoration:underline'>Dana Andrews</a>) investigates the killing, methodically questioning the chief suspects: Waspish columnist Waldo Lydecker (<a href="/players/P____75151/default.aspx" style='text-decoration:underline'>Clifton Webb</a>), wastrel socialite Shelby Carpenter (<a href="/players/P____57806/default.aspx" style='text-decoration:underline'>Vincent Price</a>), and Carpenter's wealthy "patroness" Ann Treadwell (<a href="/players/P_____1508/default.aspx" style='text-decoration:underline'>Judith Anderson</a>). The deeper he gets into the case, the more fascinated he becomes by the enigmatic Laura, literally falling in love with the girl's painted portrait. As he sits in Laura's apartment, ruminating over the case and his own obsessions, the door opens, the lights switch on, and in walks Laura Hunt, very much alive! To tell any more would rob the reader of the sheer enjoyment of watching this stylish film noir unfold on screen. Everything clicks in Laura, from the superbly bitchy peformance of <a href="/players/P____75151/default.aspx" style='text-decoration:underline'>Clifton Webb</a> (a veteran Broadway star who became an overnight movie favorite with this film) to the haunting musical score by David Raskin. Long available only in the 85-minute TV version Laura has since been restored to its original 88-minute running time. ~ Hal Erickson, All Movie Guide14Tag Target (>10)22313http://www.spout.com/ProductImages/t57129i5sn8.jpghttp://www.spout.com/films/Laura/19815/default.aspxFilm http://www.spout.com/blogs/jjgittes/archive/2009/3/26/41269.aspx Post By: jjgittes
Post To: jjgittes Blog
Post Date: 3/26/2009 10:30:34 AM
Body: Interestingly enough, LAURA is the oldest film to have aired on Reel 13 this year, coming all the way from 1944. I'm not sure why the Reel 13 programmers have so vigorously avoided the 30's and such gems like BRINGING UP BABY, IT HAPPENED ONE NIGHT, MR. SMITH GOES TO WASHINGTON, YOU CAN'T TAKE IT WITH YOU, etc., especially given the strength of the older films they have showed. LAURA, for example, hardly feels dated. It is as evocative and mesmerizing a mystery as it must have been sixty plus years ago. The only thing that might be less effective to a modern audience is the surprise twist that occurs half way through. It was groundbreaking and the talk of the town in its day, but has been ripped off countless times since then. So, it might feel familiar to younger folks watching it today, but the film can hardly be blamed for the effect of subsequent copycats.All of the elements of Laura are outstanding and work in concert for maximum impact. Otto Preminger, who parlayed the success of LAURA into the opportunity to do edgier films (CARMEN JONES, THE MAN WITH THE GOLDEN ARM, THE CARDINALl), would probably cringe to hear me say that I still think this is best work. To him, it was a paycheck – his interpretation of Hollywood sugarcoated schlock. However, his instinctual choices add depth to an already well-structured and interesting narrative. He moves his camera fluidly at a time when tracking shots were de-emphasized. He cuts in and out of scenes at just the appropriate times, which helps keep the pace brisk. He moves in and out of the flashbacks with ease and clarity. The blocking is natural and yet still executed nicely for strong, stark camera angles, which is a particular challenge in a mystery, given all of the "suspects" that Preminger needed to manipulate throughout the frames. And of course, he uses the famous "Laura" theme to perfection, sometimes even diegetically, utilizing it as a backdrop to maintain the haunting mood. Preminger is overly reliant on the voiceover to get exposition across, particularly in the first half of the film. As you may know, that is a major pet peeve of mine, but it is somehow less offensive to me in LAURA, especially since they are framed within stories that are being relayed to the investigating detective. It, like the theme, is mostly diegetic and therefore feels more natural and less like the director forcing his hand.I think another major contributor to the success of Laura is the highly underrated cast. All three of the major players are probably unknown to most modern audiences and although they would each have one or two other accomplishments in their careers, they would never be able to match the bar they set for themselves in this film. As a matter of fact, perhaps the most recognizable member of the cast to many would be Vincent Price in an against-type supporting role as Laura's cad fiancé. Price is perfectly passable in the film, but it is the three charming, charismatic leads that really make the film as engaging as it is. Clifton Webb brings the intelligence to the party in his outright remarkable performance as Waldo Lydecker (he was the only member of the cast to receive an Oscar nomination). Granted, it is a plum role with the best and wittiest dialogue of all the characters. As great as Webb is with the words, it is the combination of vulnerability and menace that he adds to the character that makes the performance so terrific. Dana Andrews brings the muscle as the Detective Mark Macpherson and I mean that in a good way. It's not that he's required to beat anybody up, but his stoic presence is intimidating to many of the other characters. He represents the earth, the practical everyman who doesn't much buy into the machinations of the bourgeoisie. Dana Andrews, who would go on to be president of the Screen Actors Guild, struggled in many of the leading roles he would score after LAURA. However, here, he provides an unusual amount of depth for what would otherwise be stereotypical flatfoot character. Although the shell of his cynicism is hardly ever broken, there is a foreboding sense of longing about him, which makes for a three-dimensional and appealing hero. Gene Tierney as the titular character provides the soul and spirit for the film, with her presence almost literally looming over scenes even when she isn't present. Tierney doesn't appear for most of the early film and is simply talked about by the other characters. One becomes incredulous as to how equally gorgeous and kind, how perfect that they make her out to be. However, once we meet her in the flashbacks, her beauty and poise suddenly make it seem plausible. I can't recall another time when being the unequivocal object of desire of so many characters was so well performed and executed. And Tierney would never have another role like it.LAURA is that rare film that manages to combine a realistic human drama sensibility with the romanticized narrative akin to the dime store bubble gum novel of the period. On its surface, LAURA is a whodunit and it is effective as such, but it is also a heartfelt romance as well as a psychological drama. Its beauty is in its layers – taut narrative, surprisingly complex characters on highly evocative journeys and an engaging mystery that is emotionally resonant. It's a film that needs to be experienced by film buffs and future filmmakers alike. It's a truly great achievement. (For more information on this or any other Reel 13 film, check out their website at www.reel13.org)
]]>Thu, 26 Mar 2009 14:30:34 GMTjjgittesjjgittes Blog3/26/2009 10:30:34 AMInterestingly enough, LAURA is the oldest film to have aired on Reel 13 this year, coming all the way from 1944. I'm not sure why the Reel 13 programmers have so vigorously avoided the 30's and such gems like BRINGING UP BABY, IT HAPPENED ONE NIGHT, MR. SMITH GOES TO WASHINGTON, YOU CAN'T TAKE IT WITH YOU, etc., especially given the strength of the older films they have showed. LAURA, for example, hardly feels dated. It is as evocative and mesmerizing a mystery as it must have been sixty plus years ago. The only thing that might be less effective to a modern audience is the surprise twist that occurs half way through. It was groundbreaking and the talk of the town in its day, but has been ripped off countless times since then. So, it might feel familiar to younger folks watching it today, but the film can hardly be blamed for the effect of subsequent copycats.All of the elements of Laura are outstanding and work in concert for maximum impact. Otto Preminger, who parlayed the success of LAURA into the opportunity to do edgier films (CARMEN JONES, THE MAN WITH THE GOLDEN ARM, THE CARDINALl), would probably cringe to hear me say that I still think this is best work. To him, it was a paycheck &ndash; his interpretation of Hollywood sugarcoated schlock. However, his instinctual choices add depth to an already well-structured and interesting narrative. He moves his camera fluidly at a time when tracking shots were de-emphasized. He cuts in and out of scenes at just the appropriate times, which helps keep the pace brisk. He moves in and out of the flashbacks with ease and clarity. The blocking is natural and yet still executed nicely for strong, stark camera angles, which is a particular challenge in a mystery, given all of the "suspects" that Preminger needed to manipulate throughout the frames. And of course, he uses the famous "Laura" theme to perfection, sometimes even diegetically, utilizing it as a backdrop to maintain the haunting mood. Preminger is overly reliant on the voiceover to get exposition across, particularly in the first half of the film. As you may know, that is a major pet peeve of mine, but it is somehow less offensive to me in LAURA, especially since they are framed within stories that are being relayed to the investigating detective. It, like the theme, is mostly diegetic and therefore feels more natural and less like the director forcing his hand.I think another major contributor to the success of Laura is the highly underrated cast. All three of the major players are probably unknown to most modern audiences and although they would each have one or two other accomplishments in their careers, they would never be able to match the bar they set for themselves in this film. As a matter of fact, perhaps the most recognizable member of the cast to many would be Vincent Price in an against-type supporting role as Laura's cad fianc&eacute;. Price is perfectly passable in the film, but it is the three charming, charismatic leads that really make the film as engaging as it is. Clifton Webb brings the intelligence to the party in his outright remarkable performance as Waldo Lydecker (he was the only member of the cast to receive an Oscar nomination). Granted, it is a plum role with the best and wittiest dialogue of all the characters. As great as Webb is with the words, it is the combination of vulnerability and menace that he adds to the character that makes the performance so terrific. Dana Andrews brings the muscle as the Detective Mark Macpherson and I mean that in a good way. It's not that he's required to beat anybody up, but his stoic presence is intimidating to many of the other characters. He represents the earth, the practical everyman who doesn't much buy into the machinations of the bourgeoisie. Dana Andrews, who would go on to be president of the Screen Actors Guild, struggled in many of the leading roles he would score after LAURA. However, here, he provides an unusual amount of depth for what would otherwise be stereotypical flatfoot character. Although the shell of his cynicism is hardly ever broken, there is a foreboding sense of longing about him, which makes for a three-dimensional and appealing hero. Gene Tierney as the titular character provides the soul and spirit for the film, with her presence almost literally looming over scenes even when she isn't present. Tierney doesn't appear for most of the early film and is simply talked about by the other characters. One becomes incredulous as to how equally gorgeous and kind, how perfect that they make her out to be. However, once we meet her in the flashbacks, her beauty and poise suddenly make it seem plausible. I can't recall another time when being the unequivocal object of desire of so many characters was so well performed and executed. And Tierney would never have another role like it.LAURA is that rare film that manages to combine a realistic human drama sensibility with the romanticized narrative akin to the dime store bubble gum novel of the period. On its surface, LAURA is a whodunit and it is effective as such, but it is also a heartfelt romance as well as a psychological drama. Its beauty is in its layers &ndash; taut narrative, surprisingly complex characters on highly evocative journeys and an engaging mystery that is emotionally resonant. It's a film that needs to be experienced by film buffs and future filmmakers alike. It's a truly great achievement. (For more information on this or any other Reel 13 film, check out their website at www.reel13.org) http://www.spout.com/blogs/shaunhuston/archive/2008/6/19/31433.aspx Post By: ShaunHuston
Post To: ShaunHuston filmblog
Post Date: 6/19/2008 6:01:33 PM
Body: The mystery list is another one that seems poorly conceived. Unlike animation, “mystery” may be a genre, but the way it is defined and applied in the AFI list leads to a muddled selection of films.The AFI defines mystery as “a genre that revolves around the solution of a crime”. I'm not convinced that that adequately describes the films on the list, or, even if it does, it is absurdly reductive. Most ironically, the definition seems least appropriate when applied to the list's top selection, Vertigo (1958), which does not actually revolve around the solution of a crime at all, but a domestic mystery, and is really about Scottie's (Jimmy Stewart) inner-demons and obsessions in any event. Similar questions can be raised about other movies on this Top 10. For example, the second film on the list, Chinatown (1974), certainly starts with a mysterious murder, but part of the point of the film is that some “crimes” aren't illegal at all, and may even be facilitated by laws. The plot of The Third Man (1949) involves the unveiling of criminal activity, but the central mystery, on more than one level, proves not to be a crime, or at least is vague enough for questions to be raised about whether it is or isn't. And, as was highlighted on the broadcast, Dial M for Murder (1954) is really more about the commission of a crime than its solution. You get the picture: the AFI definition for this genre is fine as far as it goes, but it misses the nuances in most of the films on the list. In fact, it can be argued that most of the films on this Top 10 are typically considered to belong to more refined categories than “mystery”. Chinatown, The Third Man, and The Maltese Falcon (1941) are better thought of as Film Noir, as should North by Northwest (1959), though I recognize that that may be a less typical way of understanding that movie than it is for the others. Another segment of the selections – Vertigo, Rear Window (1954), Dial M for Murder – are more precisely “suspense” movies or “thrillers”, wherein mystery, rather than being the point of the narrative, is merely a device for exploring the human psyche. This leaves three movies as the “true” mysteries on the list. From what I know of Laura (1944), I've not seen it, this seems like a fair enough categorization, and I think that “mystery” is reasonable as a way of thinking about The Usual Suspects (1995). Blue Velvet (1986) I'm tempted to say belongs to the genre of “David Lynch,” but it is also clearly the case that a mystery drives much of the film's action. What's curious about the AFI's choice to use and apply “mystery” to the films that it does is that the alternatives I suggest, “noir”, “suspense”, “thriller”, are also well-used genre categories, and ones that better capture one of my points above: these movies largely use mysteries to explore other themes – power, obsession, fear, evil. There are, however, films where the mystery is the thing. Think The Thin Man series, or the incarnations of Nancy Drew, or adaptations of Agatha Christie's Hercule Poirot and Miss Marple books. I suppose the orchestrators of these lists may have considered this, and decided that there aren't enough such movies to “honor”, but that's not only narrow-minded, especially in the context of genre entertainment, it also begs the question of why “mystery” and not “noir”, “thriller”, etc. Assessing the individual selections is made complicated by the underlying categorization question. I can see where each of the films on the list can and should be honored on a Top 10 in “x” genre, even if I don't quite see it for this particular accounting. However, Vertigo is, like The Searchers and Shane from the Western list, one of those highly regarded “classics” that I don't quite get. To me it seems dated in its fascination with mid-century popular psychology, and its visualizations of feelings of vertigo don't hold up well at all. That the latter is important to me is probably a function of the former. I vastly prefer Rear Window, and, as to the non-Hitchcock on the list, Chinatown is one of those films I will routinely cite as my absolute favorite when asked. Everything else more or less depends on context and I'm not sure that the AFI has provided the right one here. Link to introduction. Originally posted on:Short-Circuit Signs
]]>Thu, 19 Jun 2008 22:01:33 GMTShaunHustonShaunHuston filmblog6/19/2008 6:01:33 PMThe mystery list is another one that seems poorly conceived. Unlike animation, “mystery” may be a genre, but the way it is defined and applied in the AFI list leads to a muddled selection of films.The AFI defines mystery as “a genre that revolves around the solution of a crime”. I'm not convinced that that adequately describes the films on the list, or, even if it does, it is absurdly reductive. Most ironically, the definition seems least appropriate when applied to the list's top selection, Vertigo (1958), which does not actually revolve around the solution of a crime at all, but a domestic mystery, and is really about Scottie's (Jimmy Stewart) inner-demons and obsessions in any event. Similar questions can be raised about other movies on this Top 10. For example, the second film on the list, Chinatown (1974), certainly starts with a mysterious murder, but part of the point of the film is that some “crimes” aren't illegal at all, and may even be facilitated by laws. The plot of The Third Man (1949) involves the unveiling of criminal activity, but the central mystery, on more than one level, proves not to be a crime, or at least is vague enough for questions to be raised about whether it is or isn't. And, as was highlighted on the broadcast, Dial M for Murder (1954) is really more about the commission of a crime than its solution. You get the picture: the AFI definition for this genre is fine as far as it goes, but it misses the nuances in most of the films on the list. In fact, it can be argued that most of the films on this Top 10 are typically considered to belong to more refined categories than “mystery”. Chinatown, The Third Man, and The Maltese Falcon (1941) are better thought of as Film Noir, as should North by Northwest (1959), though I recognize that that may be a less typical way of understanding that movie than it is for the others. Another segment of the selections – Vertigo, Rear Window (1954), Dial M for Murder – are more precisely “suspense” movies or “thrillers”, wherein mystery, rather than being the point of the narrative, is merely a device for exploring the human psyche. This leaves three movies as the “true” mysteries on the list. From what I know of Laura (1944), I've not seen it, this seems like a fair enough categorization, and I think that “mystery” is reasonable as a way of thinking about The Usual Suspects (1995). Blue Velvet (1986) I'm tempted to say belongs to the genre of “David Lynch,” but it is also clearly the case that a mystery drives much of the film's action. What's curious about the AFI's choice to use and apply “mystery” to the films that it does is that the alternatives I suggest, “noir”, “suspense”, “thriller”, are also well-used genre categories, and ones that better capture one of my points above: these movies largely use mysteries to explore other themes – power, obsession, fear, evil. There are, however, films where the mystery is the thing. Think The Thin Man series, or the incarnations of Nancy Drew, or adaptations of Agatha Christie's Hercule Poirot and Miss Marple books. I suppose the orchestrators of these lists may have considered this, and decided that there aren't enough such movies to “honor”, but that's not only narrow-minded, especially in the context of genre entertainment, it also begs the question of why “mystery” and not “noir”, “thriller”, etc. Assessing the individual selections is made complicated by the underlying categorization question. I can see where each of the films on the list can and should be honored on a Top 10 in “x” genre, even if I don't quite see it for this particular accounting. However, Vertigo is, like The Searchers and Shane from the Western list, one of those highly regarded “classics” that I don't quite get. To me it seems dated in its fascination with mid-century popular psychology, and its visualizations of feelings of vertigo don't hold up well at all. That the latter is important to me is probably a function of the former. I vastly prefer Rear Window, and, as to the non-Hitchcock on the list, Chinatown is one of those films I will routinely cite as my absolute favorite when asked. Everything else more or less depends on context and I'm not sure that the AFI has provided the right one here. Link to introduction. Originally posted on:Short-Circuit Signs http://www.spout.com/groups/Top_5/Re_Top_5_Actresses_in_Classic_Film_Noir/190/9119/1/ShowPost.aspx Post By: Jymkata
Post To: Top 5
Post Date: 5/21/2007 6:34:35 PM
Body: Wow, great topic, since the women really make film noir sexy and mysterious 1. I loooove Gloria Grahame in everything so I guess I have to cheat and say that I would put three of her noir performances in a tie- tough and sexy Debby Marsh in The Big Heat, scheming Irene Neves in Sudden Fear, and complicated Laurel Grey in In a Lonely Place2. I think Joan Crawford gets a bad rap because of her personal life, but I think she makes every movie she's in better. I'm going to cheat again and list two favorites, as Myra Hudson in Sudden Fear and as the indomitable Mildred Pierce3. I agree with you Jim that Jane Greer's entrance in Out of the Past is one of the most memorable, maybe only rivaled by Lana Turner's in The Postman Always Rings Twice. Jane's performance makes that movie all the more mysterious and menacing. 4. Gene Tierney is a great noir actress as well. She is the haunting prescence in one of my all-time favs., Laura and she's great in the noirs Whirlpool and Where The Sidewalk Ends as well as the noirish Leave her to Heaven, 5. If you are talking about single performances it would be hard to beat the portrayal of a vicious femme fatale that Ann Savage gives in Detour. You don't root for Vera and she isn't glamorous, but she catches Tom Neal in her web and leads him to his destruction. Maybe Peggy Cummings in Gun Crazy comes close. Lauren Bacall in Dark Passage and Key Largo, Veronica Lake in This Gun for Hire, Joan Bennett in Woman in the Window, and Barbra Stanwyck in Double Indemnity are my alternates.
]]>Mon, 21 May 2007 22:34:35 GMTJymkataTop 55/21/2007 6:34:35 PMWow, great topic, since the women really make film noir sexy and mysterious 1. I loooove Gloria Grahame in everything so I guess I have to cheat and say that I would put three of her noir performances in a tie- tough and sexy Debby Marsh in The Big Heat, scheming Irene Neves in Sudden Fear, and complicated Laurel Grey in In a Lonely Place2. I think Joan Crawford gets a bad rap because of her personal life, but I think she makes every movie she&#39;s in better. I&#39;m going to cheat again and list two favorites, as Myra Hudson in Sudden Fear and as the indomitable Mildred Pierce3. I agree with you Jim that Jane Greer&#39;s entrance in Out of the Past is one of the most memorable, maybe only rivaled by Lana Turner&#39;s in The Postman Always Rings Twice. Jane&#39;s performance makes that movie all the more mysterious and menacing. 4. Gene Tierney is a great noir actress as well. She is the haunting prescence in one of my all-time favs., Laura and she&#39;s great in the noirs Whirlpool and Where The Sidewalk Ends as well as the noirish Leave her to Heaven, 5. If you are talking about single performances it would be hard to beat the portrayal of a vicious femme fatale that Ann Savage gives in Detour. You don&#39;t root for Vera and she isn&#39;t glamorous, but she catches Tom Neal in her web and leads him to his destruction. Maybe Peggy Cummings in Gun Crazy comes close. Lauren Bacall in Dark Passage and Key Largo, Veronica Lake in This Gun for Hire, Joan Bennett in Woman in the Window, and Barbra Stanwyck in Double Indemnity are my alternates. http://www.spout.com/blogs/jimbell/archive/2007/3/1/5901.aspx Post By: JimBell
Post To: JimBell Blog
Post Date: 3/1/2007 5:34:00 PM
Body: This movie was probably made well before you were born, but it is a beaut! Although I’m not a film historian, Laura (1944) seems to have been a happy accident. It was a low-budget B movie upgraded to a well-financed A movie. Two prominent musicians turned down the opportunity to score the movie because they did not want to do yet another detective show; but David Raksin realized that the story was actually a romance and scored it beautifully. He scored it so well that most of the movie has no music—he estimates about 35 minutes of score. Raksin’s theme for Laura became so popular that he turned it into a smash hit with words by Johnny Mercer. More than 400 hundred people have recorded the post-movie tune. The movie also had serendipitous casting. Someone gambled on Dana Andrews as the leading man, Detective Mark McPherson, and he had the perfect blend of good looks and edgy vulnerability. Someone gambled on the well-established stage singer and dancer Clifton Webb, and he became, in his first film, the other principal man in the movie, Waldo Lydecker. The movie has many of the complexities and subtleties of a good novel. Take for example the opening scene. The masculine McPherson, who was left with a silver shin after being heroically wounded in a gang-land shoot out, visits Lydecker’s artsy apartment to find Lydecker in the tub typing his renowned newspaper column on a typewriter on a board that swings over the bath. We see McPherson’s slight grimace of disgust at Lydecker’s scrawny old body as the intellectual rises from the water. Although this seems a small and maybe even tawdry shot, the contrast between the two men proves crucial to the entire movie. It is also worth noting that much of the movie is narrated by Waldo, thus naturally diverting suspicion from him as the murderer. Additionally, he is urbane, sophisticated, and detached—not the kind of person to blast his mentee, Laura, with a shotgun. Jean Tierney, one of the few enigmatically beautiful women of the 1940s cinema, is perfect as Laura. Initially, Jean was reluctant to play the part of the woman who starts the picture as a corpse. She said, “Who wants to play a painting? “ referring to the oft-seen portrait above the fire place. After the picture’s success, Tierney said perspicaciously that the furor was not so much for her acting as for the icon of mystery and glamour that was Laura. She described her performance as “adequate,” but, in my opinion, compared to her earlier work, it was excellent. The look of the movie, in black and white, is flawless. Lyall Wheeler was in charge of the art direction. He went on to win so many Academy Awards for Art Direction that I could not list them all. (He was nominated for Laura but did not win.) This is a classic, and it holds up very well.Jim Bell
]]>Thu, 01 Mar 2007 22:34:00 GMTJimBellJimBell Blog3/1/2007 5:34:00 PM This movie was probably made well before you were born, but it is a beaut! Although I&rsquo;m not a film historian, Laura (1944) seems to have been a happy accident. It was a low-budget B movie upgraded to a well-financed A movie. Two prominent musicians turned down the opportunity to score the movie because they did not want to do yet another detective show; but David Raksin realized that the story was actually a romance and scored it beautifully. He scored it so well that most of the movie has no music&mdash;he estimates about 35 minutes of score. Raksin&rsquo;s theme for Laura became so popular that he turned it into a smash hit with words by Johnny Mercer. More than 400 hundred people have recorded the post-movie tune. The movie also had serendipitous casting. Someone gambled on Dana Andrews as the leading man, Detective Mark McPherson, and he had the perfect blend of good looks and edgy vulnerability. Someone gambled on the well-established stage singer and dancer Clifton Webb, and he became, in his first film, the other principal man in the movie, Waldo Lydecker. The movie has many of the complexities and subtleties of a good novel. Take for example the opening scene. The masculine McPherson, who was left with a silver shin after being heroically wounded in a gang-land shoot out, visits Lydecker&rsquo;s artsy apartment to find Lydecker in the tub typing his renowned newspaper column on a typewriter on a board that swings over the bath. We see McPherson&rsquo;s slight grimace of disgust at Lydecker&rsquo;s scrawny old body as the intellectual rises from the water. Although this seems a small and maybe even tawdry shot, the contrast between the two men proves crucial to the entire movie. It is also worth noting that much of the movie is narrated by Waldo, thus naturally diverting suspicion from him as the murderer. Additionally, he is urbane, sophisticated, and detached&mdash;not the kind of person to blast his mentee, Laura, with a shotgun. Jean Tierney, one of the few enigmatically beautiful women of the 1940s cinema, is perfect as Laura. Initially, Jean was reluctant to play the part of the woman who starts the picture as a corpse. She said, &ldquo;Who wants to play a painting? &ldquo; referring to the oft-seen portrait above the fire place. After the picture&rsquo;s success, Tierney said perspicaciously that the furor was not so much for her acting as for the icon of mystery and glamour that was Laura. She described her performance as &ldquo;adequate,&rdquo; but, in my opinion, compared to her earlier work, it was excellent. The look of the movie, in black and white, is flawless. Lyall Wheeler was in charge of the art direction. He went on to win so many Academy Awards for Art Direction that I could not list them all. (He was nominated for Laura but did not win.) This is a classic, and it holds up very well.Jim Bell http://www.spout.com/members/0/tags/romance/MemberTagFilms.aspxromance
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]]>Sun, 20 Dec 2009 01:16:35 GMT71631691005Tag http://www.spout.com/members/0/tags/Best/MemberTagFilms.aspxBest
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