Simply the best!
An amazing movie and an amazing beauty, Gene Tierney.

All I could think during this movie was what a shame I entertainment has taken such a nose dive since the release of this flick.

No cursing, no nudity, no blood and gore. Just a well written, and well acted movie that relied on talent.

This movie will haunt you.........as will the Johnny Mercer score.

Thank you Gene Tierney. You were just perfect in this!

One of the best plot twists ever
"Laura" is a murder mystery which contains one of the best and most surprising plot twists ever. I don't want to go into any more detail about the plot, as it might spoil it for you. I saw this film for the first time, on late night television, about 20 years ago and have seen it numerous times since. I consider it to be among my favourite films of all time. It is not just the plot twists that makes it a great film, but also the characters and the actors who play them: the arrogant and sarcastic Waldo Lydecker (Clifton Webb), who is one of my family's favourite fictitious characters; and the enigmatic Laura (Gene Tierney) who might not be as nice as she initially appears.

"Laura" is based on a book by Vera Caspary, which I also highly recommend. The movie follows the book reasonably closely, but in a number of ways improves on the book. I see the movie as being a darker version of its source material.

This is one of the lesser known film noir films, but is by no means lesser in quality or entertainment value. I highly recommend this film to any fans of the noir genre or to fans of mysteries in general.

Good movie
I had seen this movie only once many years ago. I remembered it being a lot more interesting than it is, but it's still a good movie.

A fine thriller but not a great one
The picture nobody wanted, Laura was one of Fox's most notorious bad-luck pictures, and some of the bad luck stuck. After all the studio's A-list directors had turned it down (one of whom, John Brahm, ironically went on to remake it as Portrait For Murder in TV's 20th Century Fox Hour), Rouben Mamoulian began the picture until producer Preminger took over, reshooting much of his footage. Even David Raksin's famous theme only came about when Alfred Newman, Bernard Herrmann et al had turned down the picture. The result may well be an acknowledged classic, but while it's good, it's not THAT good.

Something is missing. That we are unaware of working-class detective Andrews' infatuation with the dead murder victim Laura until until the venal Waldo Lydecker tells him, despite Andrews fine performance, is indicative of the problems of the film. That we have to be told so much instead of sensing it for ourselves is one of the film's greatest weaknesses. Some of this can be attributed to Darryl F. Zanuck's penchant for over-editing - it takes a while for it to become clear that the victim's face has been shot off - some to rewrites, but regardless of their cause, all play against the film. Structurally, too, it is scarred. The decision to reduce the original three narrators to one either goes too far or mot far enough: as it stands, Waldo's opening narration is soon ignored and later lacks logic.

Despite her awe-inspiringly bad taste in hats (she favors the S'Wester look), Gene Tierney is all about the look, not the performance here. While the painting of Laura (in reality a touched up photograph) holds a magical allure, she cannot live up to the eulogies of the supporting cast in the flesh. The real stars of the show are Vincent Price's Southern gigolo and Clifton Webb, great fun in an overwritten part as the patron saint of purple prose Waldo Lydecker that makes the film feel like a Joe Mankiewicz drawing room thriller rather than a noir.

Yet for all its weaknesses, Laura is full of good things. There is some brilliant camerawork from Joseph LaShelle, who took over from Mamoulian's choice of Lucien Ballard after filming Webb's screen test (refusing to read for the role, Webb chose to do his Blithe Spirit monologue for the cameras instead!), while David Raksin's theme effectively haunts the detective in its various guises wherever he goes. When the two combine, as in a superb tracking shot that keeps Laura's portrait present in the frame with Andrews as he wanders through her apartment, they become the veritable blood in her veins, creating an impression that no actress could ever live up to. At times the picture even adds up to more than the sum of its parts and it's still a good wallow, but it's one best approached with few expectations if you want to get the most out of it.

OTTO PREMINGER, OPUS 7
***** 1944. Based on Vera Caspary's Laura (Femmes Fatales: Women Write Pulp), LAURA was produced and directed by Otto Preminger. Academy award in the Best Cinematography category and four other nominations. While Det. Lt. Mark McPherson is investigating the murder of Laura Hunt, the young woman suddenly reappears in perfect health. LAURA is a motion picture I watch every five years or so. It's a gem of the film noir genre and it hasn't aged a bit. In my teenage years, I was mostly attracted by Gene Tierney's almost irreal presence on the screen, later it was Dana Andrews's taciturn and low-key performance that stroke me as essential and, yesterday, I finally understood that LAURA's main character was in fact Waldo Lydecker, played by the incredible Clifton Webb; this character literally forges Laura Hunt's personality and provokes, thanks to his suggestive descriptions of Laura Hunt, McPherson's love for the young woman. LAURA is a must if you like the film noir genre or, simply, Cinema. Indispensable.