#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Detective Mark McPherson investigates the killing of Laura, found dead on her apartment floor before the movie starts. McPherson builds a mental picture of the dead girl from the suspects whom he interviews. He is helped by the striking painting of the late lamented Laura hanging on her apartment wall. But who would have wanted to kill a girl with whom every man she met seemed to fall in love? To make matters worse, McPherson finds himself falling under her spell too. Then one night, halfway through his investigations, something seriously bizarre happens to make him re-think the whole case.
Plot: A police detective falls in love with the woman whose murder he’s investigating.
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|8.0/10 Votes: 43,044|
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A Haunting, Moody Classic
I’m not sure if “Laura” truly qualifies as a film noir, although it certainly looks the part. If anything, it is a bridge between the standard romantic dramas of the ’30s and ’40s and the far darker truly noir films, such as “Double Indemnity,” in which the main characters are either weak, desperate, or truly evil.
Tierney, here, is luminous as always, but hardly unsympathetic. And Andrews is your basic Dick Tracy — colorless, but solid and honest. It’s no surprise then that Webb walks off with the film, but his character is significant in other ways. Outwardly fey, Waldo is a variation on the stock “gay” Hollywood character seen at a time when homosexuality was hinted at but never really acknowledged. He insists he loves Laura, but there appears to be no actual love affair. He chooses her clothes and hairstyles, shows her off on his arm, but never seems to have any real physical contact with her. (The visual clue is his apartment, filled with pretty things that no one is allowed to touch, although Waldo will gladly tell you how expensive they are.) His scenes with Andrews become far more complex in this context, particularly when he discusses the case with the detective from his bath. Their verbal sparring continues throughout the film, and Webb makes frequent remarks about why women find Andrews’ type so alluring, while they reject more “refined” males of taste and breeding. But Webb’s Waldo, despite the refinement, is a catty and cruel little monster, a man who writes of love, but has none in his life. Unlike David Wayne’s comic sissy in “Adam’s Rib,” who repeatedly proclaims his love and adoration for Katharine Hepburn’s Amanda, Webb’s Waldo has an edge so vile that we fear him, and, because of that, can accept him as a suspect.
The film is also notable for Vincent Price’s performance as a needy boy-toy who is manlier than Webb, but still sexually vague, indecisive and weak. Viewers unaccustomed to seeing Price in such roles may think he was miscast. Perhaps he was, but he seems to be doing precisely what he was supposed to do, giving Laura another worldly but inappropriate suitor.
The plot, predictable or not, is great fun; a bit of a whodunit with a psychological edge. The score is legendary, and like the painting Andrews falls in love with, the music gives the film its haunting quality, particularly at those moments when we segue into another flashback.
There’s a bit of inscrutability in most of Tierney’s performances, which makes her perfect for this role. We rarely know what she’s thinking, or precisely how she feels about the other characters. And because of this, her flashbacks provide few clues as to why anyone would want to murder her.
There are a few other suspects, of course, including the great Judith Anderson, and there’s even a smart little cocktail party where you can look them over one more time. As for who really did kill Laura — well, good luck with that one.
This movie is more about style than substance..
… and what style it has, from its cinematography to its score, to the interesting characters to the well crafted dialogue. However, in many ways it is like “The Big Sleep” and “The Maltese Falcon”, because plot point by plot point it is baffling.
The body of Laura Hunt (Gene Tierney) is found shot point blank in the face, apparently as she opened the door to her apartment. She is an advertising executive who has risen to high society thanks to doors opened by columnist Waldo Lydecker (Clifton Webb), who has the opening lines “I’ll never forget the weekend that Laura died..”. The third main character is a tough New York cop, Detective Mark McPherson (Dana Andrews). Mark is instantly smitten with the portrait of Laura that hangs in her apartment. He is so smitten that he seems to forget all rules of evidence and police procedure. He lets a civilian and a suspect himself (Waldo) accompany him on his rounds to question other suspects and he walks all over the crime scene -heck – he practically moves in for a few days, reading Laura’s private diary and letters, and drinks heavily, even in the morning, while on duty? Was Frank Drebin of Police Squad his only competition when he was promoted? While he was practically moving into Laura’s home he MIGHT have asked why her housekeeper continued to come in every day when her mistress was dead. Exactly who was she cleaning up after and who was paying her? Questions unanswered and unasked.
And everybody in this film is lying their heads off, seemingly to no avail. Vincent Price as the lazy, effete, amoral Shelby is deliciously funny. Why does he lie – twice – about the classical music concert he claims he attended? To what purpose? And the scene where Laura and Waldo burst in on Shelby and Ann Treadwell (Judith Anderson) having dinner is priceless. In fact, every scene with Price and the wonderful Judith Anderson is both funny and touching. Judith’s character really loves this charming skirt chasing gold digger in spite of the fact that she sees all of his flaws. He really should follow her advice and marry her.
Well then, it turns out that Laura is alive, and the very fact that she is alive makes her a suspect too. After all there WAS a killing it just wasn’t her! Laura was all mystery and allure when she is just a beautiful portrait with a personality built by Waldo’s words and Mark’s imagination. However, the real Laura is disappointingly ordinary. Waldo does to some degree seem to be her Svengali, and he does seem to be right when he says that her doom is being attracted to any guy with a good build. Back to the lying – Laura herself lies like a carpet. What’s all that nonsense about the radio? It’s there, it’s not there, it’s broken, it’s being fixed….who cares? Why does she lie about whether her radio works or not? Meanwhile, once Laura returns, Mark’s attention in questioning suspects seems to be focused on whether or not Laura really loves Shelby or anybody else, in other words, does Mark have a shot with her? He acts like a schoolboy every time he gets an answer in the affirmative.
How does this all work out? Watch and find out. I highly recommend this one, just don’t get too wrapped up in the plot. Instead, enjoy the atmosphere and dialogue.
As an aside, this was the first time Clifton Webb had been in any film since 1930, when he costarred in a Vitaphone short with radio personality Fred Allen. He refused to do a screen test from Laura’s script, but did agree to be filmed doing a scene from “The Blythe Spirit”, which was a play in which he was starring. So at age 55, from his single performance in “Laura”, Clifton Webb was catapulted to stardom at Fox for the next 15 years.
Original Language en
Runtime 1 hr 28 min (88 min)
Genre Drama, Film-Noir, Mystery
Director Otto Preminger
Writer Vera Caspary (novel), Jay Dratler (screen play by), Samuel Hoffenstein (screen play by), Elizabeth Reinhardt (screen play by)
Actors Gene Tierney, Dana Andrews, Clifton Webb, Vincent Price
Awards Won 1 Oscar. Another 4 wins & 4 nominations.
Production Company Twentieth Century Fox
Sound Mix Mono (Western Electric Recording)
Aspect Ratio 1.37 : 1
Film Length 2,424.38 m (8 reels)
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm