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Laura

Original poster
Directed by Otto Preminger
Produced by Otto Preminger
Written by Jay Dratler
Samuel Hoffenstein
Elizabeth Reinhardt
Based on novels by Vera Caspary
Starring Gene Tierney
Dana Andrews
Clifton Webb
Vincent Price
Judith Anderson
Music by David Raksin
Cinematography Joseph LaShelle
Editing by Louis R. Loeffler
Distributed by 20th Century Fox
Release date(s) October 11, 1944
Running time 88 minutes
Country United States
Language English

Laura is a 1944 American noir film directed by Otto Preminger. The screenplay by Jay Dratler, Samuel Hoffenstein, and Elizabeth Reinhardt is based on the 1943 novel of the same title by Vera Caspary.

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". In 2005, the American Film Institute ranked its score #7 in AFI's 100 Years of Film Scores, and in 2008, they named it the fourth best film in the mystery genre in AFI's 10 Top 10. [1]

Contents

Plot

New York City police detective Mark McPherson (Dana Andrews) is investigating the murder of beautiful and highly successful advertising executive Laura Hunt (Gene Tierney). He interviews acerbic newspaper columnist Waldo Lydecker (Clifton Webb), an imperious, decadent dandy who relates how he met Laura, became her mentor, and used his considerable influence and fame to advance her career. McPherson also questions Laura's fiancé, Shelby Carpenter (Vincent Price), her wealthy aunt, Ann Treadwell (Judith Anderson), and her loyal housekeeper, Bessie Clary (Dorothy Adams).

Through the testimony of her friends and the reading of her letters, McPherson comes to know Laura and slowly becomes obsessed with her, so much so Lydecker accuses him of falling in love with the dead woman. One night, the detective falls asleep under her portrait and is awakened by the sound of someone entering the apartment. He is shocked to discover it is Laura. McPherson determines the murder victim actually was Diane Redfern, a model brought there by Carpenter while Laura was away in the country. Now it becomes even more urgent to unmask the murderer.

McPherson is pleased to discover Laura is as lovable as he had imagined. He suspects Lydecker is also in love with her and fatally mistook Redfern for her and killed her by mistake. McPherson warns Laura not to let anybody in the apartment after he leaves, but Lydecker gains access and is about to kill Laura when McPherson returns just in time and shoots him. As he dies, Lydecker chokes, "Goodbye, Laura. Goodbye, my love."

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 felt the work needed a major revision and offered to rewrite it with its author. He and Caspary 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 despite the attachment of a major star, Caspary was unable to find a producer willing to finance a national tour or a Broadway run, and she abandoned the project. [2]

Caspary eventually adapted the play for a novel with the same title and a sequel entitled simply Laura, both of which eventually were purchased by 20th Century Fox for $30,000. 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, and he began working with Jay Dratler, Samuel Hoffenstein, and Elizabeth Reinhardt. Recalling the differences of opinion he and Caspary had 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, but Caspary was unhappy with the changes to her plot. [3]

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 Preminger could produce but not direct Laura 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, who had left films in 1930 to concentrate on the stage and at that time was appearing in the Noël Coward play Blithe Spirit in Los Angeles. Fox casting director Rufus LeMaire and Zanuck both objected to Webb because of his overt effeminate mannerisms, exactly what Preminger felt suited the character. He filmed the actor delivering a monologue from the Coward play, and Zanuck agreed he was perfect for the role. [4]

Filming began on April 27, 1944, and from the start Mamoulian had problems with his cast. He offered relatively inexperienced 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 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 the material needed a more subtle approach than Mamoulian was willing to give it, and the studio head allowed the producer to fire him 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 had painted with an enlarged photograph of Tierney lightly dabbed with oils to give it the ethereal effect he wanted. [5]

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. [6]

Once principal photography was 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. Inspired by a Dear John letter he had received from his girlfriend, Raksin wrote the haunting theme [7] for which Johnny Mercer later wrote lyrics. It eventually became a jazz standard recorded by more than four hundred artists, including Stan Kenton, Dick Haymes, Woody Herman, Nat King Cole, and Frank Sinatra. [8] Preminger was so pleased with Raksin's score the two collaborated on four additional films. [9]

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. 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." Zanuck relented and allowed Preminger to reinstate his original finale, telling him, "This is your success. I concede." [9]

Cast

Critical reception

Thomas M. Pryor of the New York Times observed, "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." [10]

Variety said, "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." [11]

In 2002, Roger Ebert of the Chicago Sun-Times wrote, "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." [12]

Awards and nominations

Joseph LaShelle won the Academy Award for Best Black and White Cinematography. Otto Preminger was nominated for the Academy Award for Best Director but lost to Leo McCarey for Going My Way. Clifton Webb was nominated for the Academy Award for Best Supporting Actor but lost to Barry Fitzgerald in Going My Way. Jay Dratler, Samuel Hoffenstein, and Elizabeth Reinhardt were nominated for the Academy Award for Best Adapted Screenplay but lost to Frank Butler and Frank Cavett for Going My Way. Lyle R. Wheeler, Leland Fuller, and Thomas Little were nominated for the Academy Award for Best Black-and-White Art Direction and Interior Decoration but lost to Cedric Gibbons, William Ferrari, Paul Huldschinsky, and Edwin B. Willis for Gaslight.

Classic-era film noirs in the National Film Registry
1940-49

The Maltese Falcon | Shadow of a Doubt | Laura | Double Indemnity | Mildred Pierce | Detour
The Big Sleep | The Killers | Notorious | Out of the Past | Force of Evil | The Naked City | White Heat

Adaptations to other media

Laura was adapted as a radio play on two episodes of Lux Radio Theater, the first starring Dana Andrews, Gene Tierney and Vincent Price (February 5, 1945), the second starring Gene Tierney and Victor Mature (February 1, 1954). It was also presented twice on The Screen Guild Theater (August 8, 1945 and February 23, 1950), both starring Dana Andrews, Gene Tierney and Clifton Webb. It was also adapted to the May 30, 1948 broadcast of Ford Theatre with Virginia Gilmore and John Larkin.

Home media

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.

References

  1. ^ American Film Institute website
  2. ^ Hirsch, Foster, Otto Preminger: The Man Who Would Be King. New York: Alfred A. Knopf 2007. ISBN 978-0-375-41373-5, pp. 94-96
  3. ^ Hirsch, pp. 96-97
  4. ^ Hirsch, pp. 102-103
  5. ^ Hirsch, p. 104
  6. ^ Hirsch, pp. 105-106
  7. ^ Hirsch, pp. 106-107
  8. ^ David Raksin at AllMusic.com
  9. ^ a b Hirsch, p. 107
  10. ^ New York Times review
  11. ^ Variety review
  12. ^ Chicago Sun-Times review

Additional reading

  • Preminger, Otto, Preminger: An Autobiography. New York: Doubleday 1977. ISBN 0-385-03480-6
  • Preminger, Otto and Bogdanovich, Peter, "The Making of Laura," On Film, Volume I, Number 1. (1970)

External links

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Quotes

Up to date as of January 14, 2010

From Wikiquote

Laura is a 1944 film about a police detective who falls in love with the woman whose murder he is investigating.

Directed by Otto Preminger. Written by Jay Dratler, Samuel Hoffenstein, and Betty Reinhardt, based on the novel by Vera Caspary.
The story of a love that became the most fearful thing that ever happened to a woman!

Contents

Waldo Lydecker

  • I shall never forget the weekend Laura died. A silver sun burned through the sky like a huge magnifying glass. It was the hottest Sunday in my recollection. I felt as if I were the only human being left in New York. For with Laura's horrible death, I was alone. I, Waldo Lydecker, was the only one who really knew her.
  • Laura had innate breeding, but she deferred to my judgment and taste. I selected a more attractive hair-dress for her. I taught her what clothes were more becoming to her. Through me, she met everyone — the famous and the infamous. Her youth and beauty, her poise and charm of manner captivated them all. She had warmth, vitality. She had authentic magnetism. Wherever we went, she stood out. Men admired her. Women envied her. She became as well-known as Waldo Lydecker's walking stick and his white carnation. On Tuesday and Friday nights, we stayed home, dining quietly, listening to my records. I read my articles to her. The way she listened was more eloquent than speech. These were the best nights.
  • Perhaps our friend can weave all the loose ends into a noose, eh, McPherson?
  • When you were unattainable, when he thought you were dead, that's when he wanted you most.

Shelby Carpenter

  • I can afford a blemish on my character but not on my clothes.

Anne Treadwell

  • He's no good, but he's what I want. I'm not a nice person, Laura, and neither is he. He knows I know he's just what he is. He also knows that I don't care. We belong together because we're both weak and can't seem to help it. That's why I know he's capable of murder. He's like me.

Dialogue

McPherson: Were you in love with Laura Hunt, Mr. Lydecker? Was she in love with you?
Lydecker: Laura considered me the wisest, the wittiest, the most interesting man she'd ever met. And I was in complete accord with her on that point. She thought me also the kindest, the gentlest, the most sympathetic man in the world.
McPherson: Did you agree with her there, too?
Lydecker: McPherson, you won't understand this; but I tried to become the kindest, the gentlest, the most sympathetic man in the world.
McPherson: Have any luck?
Lydecker: Let me put it this way. I should be sincerely sorry to see my neighbors' children devoured by wolves.

Cast

External links

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