Synopsis
The story of a love that became the most fearful thing that ever happened to a woman!
A police detective falls in love with the woman whose murder he's investigating.
A police detective falls in love with the woman whose murder he's investigating.
Dana Andrews Gene Tierney Clifton Webb Vincent Price Judith Anderson Dorothy Adams Wally Albright Bobby Barber Harry Carter Lane Chandler Dorothy Christy James Conaty Ralph Dunn Jean Fenwick Clyde Fillmore James Flavin Bess Flowers Lee Tung Foo William Forrest Frances Gladwin William Graeff Jr. Beatrice Gray Sam Harris Kathleen Howard Yolanda Lacca Frank LaRue Kay Linaker Gloria Marlen Thomas Martin Show All…
Lora, Kanlı Gölge, 로라, Vertigine, 罗拉秘史, Лора, Valakit megöltek, לאורה, Лаура, 羅蘭秘記, ローラ殺人事件
who killed laura p̶a̶l̶m̶e̶r̶ hunt?
This review may contain spoilers. I can handle the truth.
yeah never trust the 50+ year old man who falls in love with a 17 year old and who thinks she's best when she's listening to him read his own articles aloud
Won't lie, had a great time watching this. Gasped with every turn this film took. Not one bad performance but Vincent Price really is just THAT dude, ya know? The camera movement, the use of space, it all comes together into an ending that left me completely on edge. Not to mention the fact that Laura really is one of the most fascinating characters I've seen, especially for this time period. I'm sure there are actual reviews that actually go into depth about that. Too tired to add more sowwy 🥴
I wish Vincent Price were still alive so he could get into podcasting.
Blown away. I can't believe that this movie exists and that I hadn't seen it until now and that it achieves so much perfection in under 90 minutes. This is absolutely essential viewing for any fans of film noir and particularly for anyone interested in the femme fatale as a symbolic cinematic figure. It's also the first time I've really been bowled over like this since I discovered and fell in love with The Conformist back in May. Anyway:
"My mother always listened sympathetically to my dreams of a career, and then taught me another recipe."
Laura (Gene Tierney) is dead. Shot in the face with a shotgun. Detective McPherson (Dana Andrews) is on the case, and he's followed closely…
This review may contain spoilers. I can handle the truth.
An incredible film about male projection. LAURA initially plays into the cliché that tends to type all movies that start with the focal character dead, wherein the viewer gets to feel like that person is an active, driving character for the force they continue to exert on the living. But in this case, when Laura is revealed to be alive, her actual presence throws everything that came before into disarray, revealing that image driving the story to be nothing more than the idealized visions of different men in love with her. I've been wanting to watch this movie for years (it spent a solid year near and at the top of my Netflix queue but the disc was always rented out), but never knew anything about it. Imagine my surprise to get not only a great noir an incredibly ahead-of-its-time reflection on noir's pedestal problem.
Judith Anderson looking into her compact, reapplying lipstick, matter-of-factly speaking about murder, cold as ice.
“Because I can afford [Shelby], and I understand him.
He's no good, but he's what I want.
I'm not a nice person. 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.
No, dear, I didn't...
but I thought of it.”
There’s more bloodshed in those words than anywhere else in the film.
This review may contain spoilers. I can handle the truth.
I don't care if he solved the murder, if you fall in love with a painting you should get fired from the police
The film may seem slow at first, but it actually builds suspense without you even realizing it. The longer you focus on the story, you'll notice how well the different parts fit together and how believable everything is. The surprises in the plot make total sense, and the conversations feel so genuine and mature. In 1999, the film was recognized and chosen for preservation in the United States National Film Registry because it is considered to be very important artistically, culturally and historically. I wholeheartedly think that this recognition is well-deserved (bring back b&w noir pls)
This movie is spectacularly, monumentally queer, from Shelby Carpenter's (Vincent Price) assertion that he's a natural suspect because he’s "not the conventional type," to Mark McPherson's (Dana Andrews) amused, pointed glance crotchward as Waldo Lydecker (Cliffton Webb) stands up from his bath on their first meeting; from Waldo's description of McPherson as "muscular and handsome," with "a lean, strong body," to Shelby's arch suggestion to Waldo that he "get down on all fours again," because "it's the only time you've ever kept your mouth shut."
The examples are numerous and pointed, but the majority of the queer content centers on Webb and Lydecker. From the start, the relationship between Waldo and McPherson resembles a courtship, from their risque meeting in…
How can you not fall in love with Gene Tierney?
I am going to make an assumption that this classic film is a personal favourite of David Lynch. The film starts after the murder of a beautiful young woman named Laura. Every male character, both young and old, seems to be in love with her. A detective attempting to solve her case even falls in love with her posthumously after listening to other people's recollections and falling under the spell of her bewitching portrait. Sounds familiar? Well, a friend of a friend is a friend of mine, and so I am a little in love with this Laura, too.
I have always enjoyed the device of rendering the main character by the impressions they have left behind in their absence,…
This review may contain spoilers. I can handle the truth.
"My version was obviously superior," boasts Waldo Lydecker, meaning his version of reality, because for him the truth doesn't matter. One of the reasons I keep coming back to Laura is the way Waldo desperately attempts to control the narrative of the film with his feeble little voiceover, believing himself to be the story's hero while accidentally painting his own villainy — until the film eliminates his voiceover entirely, obsolete, and Laura returns from the dead to speak for herself.
Like Lydecker's column, noir voiceover has never been about truth, but about presenting the man's perspective of women, the detective's description of the femme fatale, the women themselves already dead to the world even before they die, ornamental, little more…