This is film noir played in part as a comedy of manners. (Incidentally, a comedy of manners gets its name from the satirical possibilities in the differing class views on proper behavior--manners--exploited by playwrights to the delight of an audience placed in a superior position--they think--of social discernment. Here we can see the differentials, but they are not played for comedic effect.)
Gene Tierney (at twenty-four) stars as Laura Hunt, a beautiful career girl who, as the picture opens, has been murdered. (Shot in face with a double barreled shotgun, a point of information not dwelled on by director Otto Preminger. Today's directors, of course, would have begun with a full facial shot of the corpse.) Dana Andrews is the leading man, playing Mark McPherson, a hard-boiled police detective with a soft heart. Vincent Price, who before he became a maven of horror, was actually a soft-spoken, hunkish ladies man, plays Shelby Carpenter, who could afford to have his reputation blemished, but not his clothes. He is a man about town who would fit nicely into a British comedy of manners at the turn of the nineteenth century.
But the surprising star is Clifton Webb who plays Waldo Lydecker, venomous columnist and radio personality, who against his first impressions, falls madly (and of course hopelessly) in love with Laura and becomes her mentor. This was before the genteel and very precise veteran of the musical stage was Mr. Belvedere, and before his triumph in Cheaper by the Dozen (1950), that is to say, before he was typecast as an irascible but lovable middle aged man--but not before his fiftieth birthday; strange how the fortunes of actors may go. By the way, George Sanders's Oscar-winning performance as the cynical critic in All About Eve (1950), owes something to Webb's work here.
The strength of the movie is in the intriguing storyline featuring surprising but agreeable plot twists, and especially in the fine acting by Webb, Andrews, Tierney and Price. Webb in particular is brilliant. I think this is another example of Otto Preminger getting a lot more out of his actors than he is usually given credit for. See Anatomy of a Murder 1959, starring James Stewart and Lee Remick, for another example. Known for turning commercial novels into commercial movies (e.g., The Man with the Golden Arm (1955); Exodus (1960); Advise and Consent (1962)) Preminger is at his best when he lets the material have its way. I call that the invisible style of directing and he follows it here. Add the beautiful score by David Raksin and this movie is a special treat.
As a mystery however it is a little predictable. We know from the beginning not only who will get the girl, but with a very high probability who pulled the trigger. What we don't know in the first case is how, since she is presumably dead, and in the second case, why. The lack of motive hides the killer's identity from us. But rest assured, all is unraveled in the final reel.
See this for Clifton Webb whose improbable Hollywood success, beginning with this movie, started when he was in his fifties and ended when he was in his sixties. If I were a thirty-year-old actor running to auditions, I would call that inspiration.
(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)
Gene Tierney (at twenty-four) stars as Laura Hunt, a beautiful career girl who, as the picture opens, has been murdered. (Shot in face with a double barreled shotgun, a point of information not dwelled on by director Otto Preminger. Today's directors, of course, would have begun with a full facial shot of the corpse.) Dana Andrews is the leading man, playing Mark McPherson, a hard-boiled police detective with a soft heart. Vincent Price, who before he became a maven of horror, was actually a soft-spoken, hunkish ladies man, plays Shelby Carpenter, who could afford to have his reputation blemished, but not his clothes. He is a man about town who would fit nicely into a British comedy of manners at the turn of the nineteenth century.
But the surprising star is Clifton Webb who plays Waldo Lydecker, venomous columnist and radio personality, who against his first impressions, falls madly (and of course hopelessly) in love with Laura and becomes her mentor. This was before the genteel and very precise veteran of the musical stage was Mr. Belvedere, and before his triumph in Cheaper by the Dozen (1950), that is to say, before he was typecast as an irascible but lovable middle aged man--but not before his fiftieth birthday; strange how the fortunes of actors may go. By the way, George Sanders's Oscar-winning performance as the cynical critic in All About Eve (1950), owes something to Webb's work here.
The strength of the movie is in the intriguing storyline featuring surprising but agreeable plot twists, and especially in the fine acting by Webb, Andrews, Tierney and Price. Webb in particular is brilliant. I think this is another example of Otto Preminger getting a lot more out of his actors than he is usually given credit for. See Anatomy of a Murder 1959, starring James Stewart and Lee Remick, for another example. Known for turning commercial novels into commercial movies (e.g., The Man with the Golden Arm (1955); Exodus (1960); Advise and Consent (1962)) Preminger is at his best when he lets the material have its way. I call that the invisible style of directing and he follows it here. Add the beautiful score by David Raksin and this movie is a special treat.
As a mystery however it is a little predictable. We know from the beginning not only who will get the girl, but with a very high probability who pulled the trigger. What we don't know in the first case is how, since she is presumably dead, and in the second case, why. The lack of motive hides the killer's identity from us. But rest assured, all is unraveled in the final reel.
See this for Clifton Webb whose improbable Hollywood success, beginning with this movie, started when he was in his fifties and ended when he was in his sixties. If I were a thirty-year-old actor running to auditions, I would call that inspiration.
(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)