“I shall never forget the weekend that Laura died.” Those may have the words of respected columnist and socialite Waldo Lydecker, but in truth they could just as easily be the words of a multitude of other players in the 1944 film Laura. The fact is, Laura not only casts a spell on everyone who happens to drift into her life, but she also captivates the audience who encounter her on the silver screen. She effectively reveals all their desires, obsessions, and shortcomings. In Laura, Otto Preminger conceived a wonderfully mysterious and enchanting film that constantly revolves around the life of this young woman.
In Laura, Waldo Lydecker chides his companion for her “one tragic weakness.” As he sees it, for her, “a lean, strong body is the measure of a man.” Perhaps this does hint at the problem with all of Laura’s relationships, because each one has a superficial aspect. With Lydecker dead and no longer able to intercede, Laura walks off with McPherson, another one of these men with a “strong body.” As an audience we would like to see this as different from before but is it really? In the same way we too have one tragic flaw as well. To put it frankly we are human; humans with wants, desires, peculiarities, and emotions which are reflected and brought to the forefront by characters such as Lydecker, McPherson, Carpenter, Treadwell, and of course Laura Hunt.
Whether he meant to or not Otto Preminger makes us face these issues through his film; however in the process he also develops a wonderful noir mystery that helped define the genre. It seems safe to say that Laura is a film-noir that is both stylish and witty, and at the same time haunting. Above all the film exhibits a “remarkable collection of dopes,” all tied to this enchantress named Laura. Every one believed they were “the only one who really knew her,” but every one of them, much like us, will never be able to quite figure her out. That’s the beauty of Laura, the character, and Laura, the film.