Jennifer Lott / 11.12.

15 / DFM 140 / Laura

Film noir rose to popularity in the United States after World War II permanently altered
our perceptions of society and forced us to explore certain themes that had previously been
avoided in the film industry. Noir is known for both its aesthetic characteristicsdeep focus,
claustrophobic framing, and high-contrast lightingas well as its common themesalienation,
isolation of the individual, and loneliness. All of these elementsand morecan be found in the
1994 film Laura by director Otto Preminger, a fantastical murder mystery that encapsulates
and occasionally subvertsthe essence of the film noir genre.
The film begins with the murder of a young woman by the name of Laura Hunt. The
detective assigned to the case, Mark McPherson, is a typical film noir detective. His cynicism,
hard-heartedness, and serious demeanor are evident from his first few moments on screen, when
he takes to interrogating the suspects, Lauras friends and family.
One of these friends, Waldo Lydecker, an influential columnistrecalls his relationship
with Laura from its conception early on in the film. Through flashbacks, the audience catches
glimpses into Lauras life leading up to her murder. These flashbacks establish Laura Hunt as the
typical noir film female. She is a working woman who, as she goes through life, charms the men
around her: through her relationship with Lydecker she advances her career and esteem; she has
a fianc, but does not seem to be wholly committed to him or the idea of marriage; and even as a
dead woman, she is irresistible to the hard-hearted detective investigating her murder. A striking
portrait of herself which hangs above the fireplace in her apartment captures his heart and
establishes her status as the femme fatale.

It is very quickly evident that none of the suspects can be trusted. Lauras aunt is very
obviously in love with her nieces fianc, Shelby Carpenter, and refuses to admit it. Shelby
himself lies several times throughout the movie in many misguided attempts to protect himself or
Laura. And Lydeckers seemingly innocent admiration for the young woman masks a very
jealous man. These tensions are prime examples of the fundamental themes within the film noir
genre of pessimism, betrayal, secrecy, and overall deception.
One aspect of this film that makes it so striking within the noir genre is its framing. Every
shot is important, and every shot is framed purposefully, with absolutely no superfluousness. As
our detective becomes more and more infatuated with Laura, he spends more and more time in
her apartment, which lends itself to the frequent shots containing both he and the portrait, meant
to symbolize his infatuations, his feelings for a woman who is untouchable. Another example is
the clock, a seemingly innocent piece of furniture that appears in the background many times
only to become a very important part of the mystery.
In classic film noir fashion, halfway through the film the narrative very suddenly twists.
Laura herself appears, very much alive. It is quickly discovered that her coworker, Diane, is the
real murder victim, mistakenly identified as Laura. Now, the femme fatale who seemed to pose
no real threat on account of her supposed death, becomes a prime suspect in the murder case that
was once her own. And more secrets emerge: Diane was involved in an affair with Shelby, giving
both Laura and her fianc a possible motive. Still, McPherson is infatuated with Laura, and
follows his heart rather than his head, determined to prove her innocence. One very distinct trait
of film noir mystery is that the detective rarely uses scientific method to solve the mystery, but
rather he relies on his emotions.

In the end it is revealed that Waldo Lydecker is the murderer who, overcome with
jealousy, mistook Diane for Laura and shot her. He believes that if he cannot have Laura for
himself, no one should. McPherson saves Laura, and as Lydecker dies and utters his last words
of devotion (Goodbye, Laura. Goodbye, my love.), the trope of the femme fatale is
unexpectedly subverted. A femme fatale traditionally does not become the damsel in distress, and
the noir ending typically does not leave the possibility of a satisfying romantic relationship
between our protagonist detective and the femme in question. At the end of Laura, however, it
seems that the title character is not the dangerous woman the audience assumed. Rather, the
circumstances surrounding her, which are resolved at the end, were the real danger, and while her
occasional secrecy drew suspicions, ultimately she is an innocent. This is not the traditional
femme fatale story. The ending lends itself to the possibility of a happy ending for Laura Hunt
and Mark McPherson.
Laura is a classic piece in film noir history. It contains everything that audiences desire
from the genre and more. Its aesthetics, plot, characters, and themes all satisfy the demands of
noir. This film continues to be one of the most widely acclaimed noir films. Its fantastical story
creatively twists audiences expectations to create a piece that highlights the noir aesthetic in the
best way possible.