New York City Police Department Detective Mark McPherson is investigating the murder of a young, beautiful, highly successful advertising executive, Laura Hunt, killed by a shotgun blast to the face just inside the doorway of her apartment. He first interviews charismatic newspaper columnist Waldo Lydecker, an imperious, effete older man who relates how he met Laura and became her mentor. She had become his platonic friend and steady companion, and, wishing more, he used his considerable fame, influence, and connections to advance her career.
McPherson also questions Laura's parasitic playboy fiancé, Shelby Carpenter, a "kept man" tethered to her wealthy socialite aunt, Ann Treadwell. Treadwell tolerates Shelby's infatuation with Hunt, apparently out of her practical acceptance of Carpenter's need for the affection of a woman closer to his age. Bessie Clary, Laura's loyal and highly distraught housekeeper, is also questioned by McPherson. Through the testimony of Laura's friends and reading her letters and diary, McPherson becomes obsessed with her – so much so that Lydecker finally accuses him of falling in love with the dead woman. He also learns that Lydecker was jealous of Laura's suitors, using his newspaper column and influence to keep them at bay.
One night, the detective falls asleep in Laura's apartment in front of her portrait. He is awakened by a woman entering with her own key and is shocked that it is Laura. She finds a dress in her closet that belonged to one of her models, Diane Redfern. McPherson concludes that the body assumed to have been Laura was Redfern, drawn there for a liaison by Carpenter while Laura was away in the country. With Laura still alive, unmasking the killer becomes even more urgent.
At a party celebrating Laura's return, McPherson arrests Laura for the murder of Redfern. Upon questioning her, he becomes convinced that she is innocent and that she does not love Carpenter. He searches Lydecker's apartment, where he becomes suspicious of a clock identical to the one in Laura's apartment. On closer examination, he finds it has a secret compartment. McPherson returns to Laura's apartment. Lydecker is there and notices a growing bond between Laura and the detective. Lydecker insults McPherson and is sent away by Laura but pauses on the stairwell outside. McPherson examines Laura's clock and finds the shotgun that killed Diane but leaves it there. Laura is confronted with the truth that Lydecker is the murderer.
McPherson and Laura kiss, and then he locks her into her apartment, warning her to admit no one. After he leaves, Lydecker, who had slipped in by the kitchen entrance, retrieves the shotgun, and attempts to kill Laura, saying that if he cannot have her, no one can. She deflects his shot and flees just as McPherson arrives. McPherson's sergeant shoots down Lydecker. As he dies, Lydecker whispers, "Goodbye, Laura. Goodbye, my love."
Larry Steers as Man Dining with Laura (uncredited)
Cara Williams as Secretary in Laura's Office (uncredited)
Eric Wilton as Restaurant Patron (uncredited)
Production
Otto Preminger was looking for a theatrical project to direct and first became aware of Vera Caspary's story when her agent offered him the first draft of a play called Ring Twice for Laura. Preminger liked the high-society setting and the unusual plot twist, but he felt the work needed a major revision and offered to rewrite it with its author. Caspary and he disagreed about the direction they should take it, and she opted to collaborate with writer George Sklar, instead. Marlene Dietrich expressed interest in portraying the title character, but without the attachment of Dietrich or another major star, Caspary was unable to find a producer willing to finance a national tour or a Broadway run and abandoned the project.[8]
Caspary eventually adapted the play for both a novel with the same title and a sequel, which she titled simply Laura. They were both purchased by 20th Century Fox for $30,000.[9] Fox announced George Sanders and Laird Cregar as the leads.[10]
Interim studio head William Goetz, serving in that capacity while Darryl F. Zanuck was fulfilling his military duty, assigned Preminger the task of developing the books for the screen. Preminger began working with Jay Dratler, Samuel Hoffenstein, and Betty Reinhardt. Recalling the differences of opinion Caspary and he had, Preminger opted not to involve her until the first draft was completed. He sensed the more interesting character was not Laura, but Waldo Lydecker, and expanded his role accordingly. Caspary was unhappy with the plot changes, though.[11]
Zanuck, with whom Preminger previously had clashed, returned to the studio and was angered to discover Goetz had rehired his nemesis. In retaliation, he announced that Preminger could produce Laura but not direct it and assigned him to helm In the Meantime, Darling instead. Several directors, including Lewis Milestone, were offered and rejected Laura until Rouben Mamoulian finally agreed to direct.
Mamoulian immediately ignored all of Preminger's directives as producer and began to rewrite the script. To Preminger's dismay, he cast Laird Cregar, known for his portrayal of Jack the Ripper in The Lodger, in the key role of Lydecker. The producer felt casting an actor with a reputation for playing sinister roles would lead the audience to become suspicious of Lydecker earlier than necessary. He favored Clifton Webb, a noted Broadway actor, who had not appeared before the cameras since 1930, and who at that time was performing in the Noël Coward play Blithe Spirit in Los Angeles.
Fox casting director Rufus LeMaire and Zanuck both objected to Webb because of his effeminate mannerisms, which were exactly what Preminger felt suited the character. Preminger filmed the actor delivering a monologue from the Coward play, and Zanuck agreed that Webb was perfect for the role.[12] Zanuck was similarly campaigning for actor Reginald Gardiner to play the role of Shelby, though Fox contractee Vincent Price finally got the role.
Filming began on April 27, 1944, and from the start, Mamoulian had problems with his cast. He offered relative newcomers Gene Tierney and Dana Andrews little support, allowed theatrically trained Judith Anderson to play to the balcony instead of reining in her performance, and virtually ignored Webb, who had learned that the director was unhappy with his casting.
After viewing the early rushes, Zanuck called a meeting with Mamoulian and Preminger, each of whom blamed the other for the problems on the set. Preminger finally convinced Zanuck that the material needed a more subtle approach than Mamoulian was willing to give it, and the defeated studio head, in frustration, reluctantly allowed Preminger to dismiss Mamoulian and direct the film himself. Preminger immediately hired a new cinematographer and scenic designer and replaced the portrait of Laura– a crucial element of the film; Mamoulian's wife Azadia had painted the original portrait, but Preminger replaced that with an enlarged photograph (taken by Fox photographer Frank Polony) of Tierney, lightly dabbed with oils to give it the ethereal effect he wanted.[13]
Preminger initially experienced resistance from his cast, who had been led to believe Preminger was unhappy with their work by the departing Mamoulian. "Once we got used to Otto, we had a pretty easy time", Vincent Price recalled in a July 1989 interview. Filming was completed on June 29, slightly over budget, but within the projected timetable.[14]
Zanuck was unhappy with Preminger's first cut of the film and insisted it be given a new ending, in which it was revealed Lydecker had imagined the entire story, but following a screening of the Zanuck version, columnist Walter Winchell approached the studio head and told him, "I didn't get [the ending]. You've got to change it." Having lost again, Zanuck relented and allowed Preminger to reinstate his original finale, telling him, "This is your success. I concede."[15]
Music
Once the principal photography had been completed, Preminger hired David Raksin to score the film. The director wanted to use "Sophisticated Lady" by Duke Ellington for the main theme, but Raksin objected to the choice. Alfred Newman, music director for Fox, convinced Preminger to give Raksin a weekend to compose an original tune. Furious, Preminger gave Raksin that weekend, but threatened him with dismissal in case he failed.
In 1993, Fox Records released a 27-minute suite of Raksin's score on an album paired with Bernard Herrmann's score for Jane Eyre. In 2013, Kritzerland released the complete Raksin score, along with test demos and the suite from the original album as bonus tracks.
When a murder mystery possessing as much sustained suspense, good acting and caustically brittle dialogue as Laura ...comes along it might seem a little like carping to suggest that it could have been even better. As the story of a strangely fascinating female who insinuates herself into the lives of three very worldly gents, much depends, of course, upon the lady herself... Now, at the risk of being unchivalrous, we venture to say that when the lady herself appears upon the scene via a flashback of events leading up to the tragedy, she is a disappointment. For Gene Tierney simply doesn't measure up to the word-portrait of her character. Pretty, indeed, but hardly the type of girl we had expected to meet. For Miss Tierney plays at being a brilliant and sophisticated advertising executive with the wild-eyed innocence of a college junior. Aside from that principal reservation, however, Laura is an intriguing melodrama... Only Miss Tierney seems out of key. Perhaps if Laura Hunt had not had such a build-up, it would have been different. Anyway, the picture on the whole is close to being a top-drawer mystery.[18]
The film's deceptively leisurely pace at the start, and its light, careless air, only heighten the suspense without the audience being conscious of the buildup. What they are aware of as they follow the story... is the skill in the telling. Situations neatly dovetail and are always credible. Developments, surprising as they come, are logical. The dialog is honest, real and adult.[19]
Film noir is known for its convoluted plots and arbitrary twists, but even in a genre that gave us The Maltese Falcon, this takes some kind of prize... That Laura continues to weave a spell– and it does– is a tribute to style over sanity... All of [the] absurdities and improbabilities somehow do not diminish the film's appeal. They may even add to it... [T]he whole film is of a piece: contrived, artificial, mannered, and yet achieving a kind of perfection in its balance between low motives and high style. What makes the movie great, perhaps, is the casting. The materials of a B-grade crime potboiler are redeemed by Waldo Lydecker, walking through every scene as if afraid to step in something.[20]
Rotten Tomatoes reports that Laura has a 100% fresh rating, based on 60 reviews, with a weighted average of 8.76/10. The site's consensus reads: "A psychologically complex portrait of obsession, Laura is also a deliciously well-crafted murder mystery."[21]
In 1999, Laura was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
Magnetic Video released the film on home video however, by 1992, the film had not been available on home video for almost a decade although was available on LaserDisc.[22]
20th Century Fox Home Entertainment released the film on Region 1 DVD on March 15, 2005. It is in fullscreen format with audio tracks and subtitles in English and Spanish. Bonus tracks include commentaries by film historian Jeanine Basinger, composer David Raksin, and author Rudy Behlmer; a deleted scene; the original theatrical trailer; and Gene Tierney: A Shattered Portrait and Vincent Price: The Versatile Villain, two episodes from A&E Biography. In a deleted scene (1:06) with benefactor Webb, "... the beautiful Tierney was placed in a more feminine role model, and in the end it was decided to delete her for the cinema release of the film". The scene was restored on January 14, 2019, and presented as an "extended version" on DVD releases.[23] The film became available on Blu-ray on February 5, 2012.[24] Eureka Entertainment released the movie on Blu-ray in the United Kingdom on January 14, 2019. Four of the five radio adaptations were included as extras on the disc (with the 1950 episode of The Screen Guild Theater omitted).
Adaptations
Radio
Laura was adapted as a radio play for two different episodes of Lux Radio Theater, the first starring Gene Tierney, Dana Andrews, and Vincent Price (February 5, 1945), and the second starring Gene Tierney and Victor Mature (February 1, 1954). It was also adapted for the May 30, 1948, broadcast of Ford Theatre with Virginia Gilmore and John Larkin. In addition, Laura was presented twice on The Screen Guild Theater (August 20, 1945, and February 23, 1950), both episodes starring Gene Tierney, Dana Andrews, and Clifton Webb.
Laura was also adapted for a television production produced by David Susskind, aired on January 24, 1968, starring Lee Radziwiłł in Gene Tierney's part. Sanders returned in Clifton Webb's role, and Stack in Dana Andrews's. The show was taped in London and the teleplay was written by Truman Capote. It met with unanimous negative reactions, which was attributed to Radziwiłł's poor acting.[25]
An episode of Magnum, P.I. titled "Skin Deep", written by joint series creator Donald P. Bellisario, used a similar premise. Ian McShane guested as the Lydecker type, an insanely jealous film producer, and Cathie Shirriff guest-starred as the episode's version of Laura Hunt, the prominent actress Erin Wolfe, whose apparent suicide investigator Magnum (Tom Selleck) is investigating. As McPherson does in Laura, Magnum learns that, in reality, his investigation subject is not dead. Cold Case does the same thing but with a gender reversal in the season 3 finale, titled "Joseph".[citation needed]
An episode of Star Trek: The Next Generation titled "Aquiel" was likewise inspired by Laura. In one early draft of the murder mystery episode, the writers struggled with the fact that their initial solution for the mystery seemed too close to the plot of Basic Instinct. Producer Michael Piller suggested they instead look to Laura as a blueprint. The script was adjusted accordingly, featuring a character in a detective role falling in love with a supposed murder victim through her personal logs, only to discover that she was, in fact, alive.[26]
Otto Ludwig Preminger was an Austrian-American theatre and film director, film producer, and actor. He directed more than 35 feature films in a five-decade career after leaving the theatre. He first gained attention for film noir mysteries such as Laura (1944) and Fallen Angel (1945), while in the 1950s and 1960s, he directed high-profile adaptations of popular novels and stage works. Several of these later films pushed the boundaries of censorship by dealing with themes which were then taboo in Hollywood, such as drug addiction, rape and homosexuality. He was twice nominated for the Academy Award for Best Director. He also had several acting roles.
Webb Parmelee Hollenbeck, known professionally as Clifton Webb, was an American actor, singer, and dancer. He worked extensively and was known for his stage appearances in the plays of Noël Coward, including Blithe Spirit, as well as appearances on Broadway in a number of successful musical revues. As a film actor, he was nominated for three Academy Awards - Best Supporting Actor for Laura (1944) and The Razor's Edge (1946), and Best Actor in a Leading Role for Sitting Pretty (1948).
Carver Dana Andrews was an American film actor who became a major star in what is now known as film noir. A leading man during the 1940s, he continued acting in less prestigious roles and character parts into the 1980s. He is best known for his portrayal of obsessed police detective Mark McPherson in the noir Laura (1944) and his critically acclaimed performance as World War II veteran Fred Derry in The Best Years of Our Lives (1946).
Gene Eliza Tierney was an American film and stage actress. Acclaimed for her great beauty, she became established as a leading lady. She was best known for her portrayal of the title character in the film Laura (1944), and was nominated for an Academy Award for Best Actress for her performance as Ellen Berent Harland in Leave Her to Heaven (1945).
Jeanne Elizabeth Crain was an American actress. She was nominated for an Academy Award for Best Actress for her title role in Pinky (1949). She also starred in the films In the Meantime, Darling (1944), State Fair (1945), Leave Her to Heaven (1945), Centennial Summer (1946), Margie (1946), Apartment for Peggy (1948), A Letter to Three Wives (1949), Cheaper by the Dozen (1950), People Will Talk (1951), Man Without a Star (1955), Gentlemen Marry Brunettes (1955), The Fastest Gun Alive (1956), and The Joker Is Wild (1957).
Darryl Francis Zanuck was an American film producer and studio executive; he earlier contributed stories for films starting in the silent era. He played a major part in the Hollywood studio system as one of its longest survivors. He produced three films that won the Academy Award for Best Picture during his tenure at 20th Century Fox.
River of No Return is a 1954 American Western film directed by Otto Preminger and starring Robert Mitchum and Marilyn Monroe. The screenplay by Frank Fenton is based on a story by Louis Lantz, who borrowed his premise from the 1948 Italian film Bicycle Thieves. The picture was shot on location in the Canadian Rockies in Technicolor and CinemaScope and released by 20th Century Fox.
Where the Sidewalk Ends is a 1950 American film noir directed and produced by Otto Preminger. The screenplay for the film was written by Ben Hecht, and adapted by Robert E. Kent, Frank P. Rosenberg, and Victor Trivas. The screenplay and adaptations were based on the novel Night Cry by William L. Stuart. The film stars Dana Andrews and Gene Tierney.
Porgy and Bess is a 1959 American musical drama film directed by Otto Preminger, and starring Sidney Poitier and Dorothy Dandridge in the titular roles. It is based on the 1935 opera Porgy and Bess by George Gershwin, DuBose Heyward and Ira Gershwin, in turn based on Heyward's 1925 novel Porgy, as well as Heyward's subsequent 1927 non-musical stage adaptation, co-written with his wife Dorothy. The film's screenplay, which turned the operatic recitatives into spoken dialogue, was very closely based on the opera and was written by N. Richard Nash. In 2011, the film was chosen for inclusion in the National Film Registry of the Library of Congress.
Fallen Angel is a 1945 American film noir directed by Otto Preminger, with cinematography by Joseph LaShelle, who had also worked with Preminger on Laura a year before. The film features Alice Faye, Dana Andrews, Linda Darnell and Charles Bickford. Fallen Angel was Faye's last film as a major Hollywood star, and she did not appear in another film until State Fair (1962).
Kidnapped (1938) is an adventure film directed by Otto Preminger and Alfred L. Werker, starring Warner Baxter and Freddie Bartholomew, and based on the 1886 novel Kidnapped by Robert Louis Stevenson.
Vera Louise Caspary was an American writer of novels, plays, screenplays, and short stories. Her best-known novel, Laura, was made into a successful movie. Though she claimed she was not a "real" mystery writer, her novels effectively merged women's quest for identity and love with murder plots. Independence is the key to her protagonists, with her novels revolving around women who are menaced, but who turn out to be neither victimized nor rescued damsels.
Daisy Kenyon is a 1947 American romantic-drama film by 20th Century Fox starring Joan Crawford, Henry Fonda, and Dana Andrews in a story about a post-World War II romantic triangle. The screenplay by David Hertz was based upon a 1945 novel of the same name by Elizabeth Janeway. The film was directed and produced by Otto Preminger. Having opened to restrained reception, Daisy Kenyon has seen reappraisal, and now enjoys a minor cult following for its realistic treatment of a typically melodramatic plot.
Margin for Error is a 1943 American drama film directed by Otto Preminger. The screenplay by Lillie Hayward and Samuel Fuller is based on the 1939 play of the same title by Clare Boothe Luce.
The Razor's Edge is a 1946 American drama film based on W. Somerset Maugham's 1944 novel of the same name. It stars Tyrone Power, Gene Tierney, John Payne, Anne Baxter, Clifton Webb, and Herbert Marshall, with a supporting cast including Lucile Watson, Frank Latimore, and Elsa Lanchester. Marshall plays Somerset Maugham. The film was directed by Edmund Goulding.
Laura may refer to:
"Laura" is a 1945 popular song. The music, composed by David Raksin for the 1944 movie Laura, which starred Gene Tierney and Dana Andrews, is heard frequently in the movie. The film's director, Otto Preminger, had originally wanted to use Duke Ellington's "Sophisticated Lady" as the theme, but Raksin was not convinced that it was suitable. Angered, Preminger gave Raksin one weekend to compose an alternative melody. Raksin later said, and maintained for the rest of his days, that when, over that weekend, his wife sent him a "Dear John" letter, the haunting theme seemed to write itself.
Laura (1943) is a detective novel by Vera Caspary. It is her best known work, and was adapted into a popular film in 1944, with Gene Tierney in the title role.
In the Meantime, Darling is a 1944 American drama film produced and directed by Otto Preminger. The screenplay by Arthur Kober and Michael Uris focuses on a wealthy war bride who is forced to adjust to living in spartan conditions in military housing during World War II.
Under Your Spell is a 1936 American romantic comedy film with music directed by Otto Preminger. The screenplay by Frances Hyland and Saul Elkins is based on a story by Sy Bartlett and Bernice Mason. It was a remake of the American Spanish-language film, Las fronteras del amor.
References
Notes
↑ Solomon, Aubrey (1989). Twentieth Century Fox: A Corporate and Financial History. Lanham, Maryland: Scarecrow Press, p. 242, ISBN978-0-8108-4244-1.
↑ Solomon, Aubrey (1989). Twentieth Century Fox: A Corporate and Financial History. Lanham, Maryland: Scarecrow Press, p. 220, ISBN978-0-8108-4244-1.
↑ "LOOKING BACKWARD AT THE 1943–44 SEASON: Being a Summary and Many Figures of the Year's Activities". New York Times. June 4, 1944. p.X1.
↑ "SCREEN NEWS HERE AND IN HOLLYWOOD: Fox Buys Rights to 'Laura,' a Mystery, for Laird Cregar and George Sanders 'GUADALAJARA' AT WORLD Mexican Film Will Open Today -- 'The Russian Story' Sets Record at the Stanley". New York Times. June 11, 1943. p.23.
Laura essay by Daniel Eagan in America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, Bloomsbury Academic, 2010 ISBN0826429777, pages 375-377
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