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)