The title music is only half the story with "Laura"

My "way in" to this timeless noir was the remarkable theme music, written by David Raskin. I had heard several great jazz riffs on the Raskin theme but finally, about ten years ago actually saw the film. Wow. Just wow.

It is hard to limit my comments on "Laura" since so much about it is great. Starting with one of the truly great Studio System era directors, Otto Preminger at the helm. Like the late, great Billy Wilder on "Sunset Boulevard" Preminger clearly was in complete control, here and the film is all the better for it. What emerges is a mesmerizing, crisply-acted, expertly-written thriller masquerading as romance, or romance masquerading as thriller. Not sure it matters what the order is.

Basic plot here is the title character is apparently found dead in her apartment of a shotgun to the face. As was famously said of John Ford (in the Pioneer slaughter aftermath scene in "The Searchers"), a great director implies horror rather than showing it, and it is more gruesome to imagine the beautiful face on Laura's apartment wall blown apart by buckshot than to actually see it, regardless of how really talented you think Rob Zombie is (and I think he is pretty talented). A smart mouthed Detective -- played in a scenery-chewing performance by the late, great Dana Andrews -- is all over the murder like a cheap suit. And given the pittance he is probably paid to detect, it is a pretty cheap suit.

He begins questioning those who knew the late beauty, and that process provides both the narrative structure of the film, and the opportunity for a virtual Who's Who of great Fox contract players to emote. Let's see, Dame Judith Andersen? Check. Vincent Price in an early, and delicious dramatic role? Gotcha. But besides the late, great Gene Tierney (more on that later) the one who steals the show is Clifton Webb, sarcasm dripping from his somewhat pansy lips in a career-defininng role as Critic Waldo Lydecker. Despite being almost clearly Gay, Lydecker apparently is smitten with Laura and jealous of any man who has the remotest hold on her affections. And many do.

Then, as they say in the Magic World, comes "The Turn." The Turn here is when the supposedly dead Laura simply walks into her apartment once fine day while said lovesick Dick is pining over her beautiful potrait, killing time whilst mentally processing the crime. This scene, where the fantasy woman in his head actually walks in the door is almost Hitchock-esque, and the vision that does walk in the door is played by perhaps the most beautiful actress in the history of Hollywood. I mean, in addition to being a great actress, Gene Tierney had the face that launched a thousand, er, erections.

But I digresss. Once it is clear that the real Laura is really alive, things get very interesting. If Laura isn't dead, who is lying in the New York City Morgue on a slab? And why was she killed? That, of course is the question that provides the driving force for the remaining 30 minutes or so of this classic. It is not a spoiler to say that Laura shows up alive, half way through "Laura" but it would be to tell if who was really killed, and if the Dick gets his Gal. Well, its Hollywood, you can guess how that last one turns out.

Add solid cinematography by Joseph LaShelle and you have a movie classic that has stood the test of time. Watch in in Hi Def if you can. The version available for rent on Amazon Video is pristine - great print and digital transfer.

Enjoy.