A classic in many ways and on many levels, LAURA is one of the best and
most atmospheric films noir of the 1940s. It is also a more
disturbing (if not necessarily more incisive) examination of obsession
and necrophilia than Hitchcock's VERTIGO. Dana Andrews plays
an
elbow-bending detective who falls in love with the portrait of a dead
(or so it seems) woman; Gene Tierney is the woman in the portrait,
impossibly beautiful yet more ordinary of character than certain
objectifying fantasies would have it; and Vincent Price is a
ne'er-do-well socialite and ex-flame of Laura, now engaged in a
gigolo-"patroness" relationship with Judith Anderson. These
would
be plenty of memorable characters for most films, but they all take a
back seat to Clifton Webb's tour-de-force as epicene drama critic Waldo
Lydecker. In all, LAURA is a masterful study of depravity
that
differs from similarly themed contemporary films in that Production
Code restrictions required a focus on the characters, rather than the
depravity. In doing so, it makes for a more trenchant work
than
could ever be achieved with a more gratuitous approach. If
you
want to interpret the second half of the film as a dream, that's fine
with me, but you'd be wrong. I think.
- JL