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  1. Brief Synopsis. A police detective falls in love with the woman whose murder he's investigating. Cast & Crew. Read More. Otto Preminger. Director. Gene Tierney. Laura Hunt. Dana Andrews. Detective Mark McPherson. Clifton Webb. Waldo Lydecker. Vincent Price. Shelby Carpenter. Judith Anderson. Ann Treadwell. Photos & Videos. View All.

  2. Jan 20, 2002 · Laura” (1944) has a detective who never goes to the station; a suspect who is invited to tag along as other suspects are interrogated; a heroine who is dead for most of the film; a man insanely jealous of a woman even though he never for a moment seems heterosexual; a romantic lead who is a dull-witted Kentucky bumpkin moving in Manhattan ...

  3. www.rottentomatoes.com › m › 1012007-lauraLaura | Rotten Tomatoes

    Nov 18, 2023. Rated: 4/4 • Feb 12, 2022. Rated: 3.5/4 • Mar 14, 2021. In one of the most celebrated 1940s film noirs, Manhattan detective Mark McPherson (Dana Andrews) investigates the murder of...

  4. Summaries. A police detective falls in love with the woman whose murder he is investigating. Detective Lieutenant Mark McPherson (Dana Andrews) investigates the killing of Laura Hunt (Gene Tierney), found dead on her apartment floor before the movie starts.

  5. Laura, American film noir, released in 1944, that is considered a classic of the genre. The movie, which was directed by Otto Preminger, is notable as both a suspenseful mystery and a compelling account of obsession. Hard-boiled police detective Mark McPherson (played by Dana Andrews) is.

  6. Feb 25, 2013 · Laura: Noir of Identity and Illusion. Laura. : Noir of Identity and Illusion. In Billy Wilder’s Double Indemnity (1944), the murder of Tom Powers’ character is built up through the two lovers/killers’ plans. And yet the scheme could be all talk if it weren’t for the opening confession of Walter Neff (Fred MacMurray).

  7. Mar 17, 2005 · by Nick Schager. March 17, 2005. At the cynical heart of Otto Preminger’s Laura is a murder, yet labeling this elegant 1944 noir classic a whodunit is to ignore its masterfully complex—and frequently campy—portrait of all-consuming romantic self-delusion.

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